Latest Reviews

I watch a lot of baseball in my spare time. And I always find it unusual when a rookie gets the call who is the son of a former major leaguer. In that moment I can feel the wrinkles on my forehead becoming more dense as it means my youth is getting further away from me. It's even weirder when that father was a really good player; perhaps even a hall of famer. How can your son possibly live up to the enormous standards that you set nearly twenty years ago?

Vended is the musical equivalent of this. Founded by Griffin Taylor, this nu metal act has the insurmountable task of bringing nu metal to a new generation...while also having familial ties to one of its greatest figures: Corey Taylor.

And yes, just like those sons of major leaguers, Griffin Taylor does have many mannerisms that are very similar to his father. Vended sounds like if you combined the aggressive, misanthropic lyricism of early Slipknot and merged it together with the heavier groove aspects of a band like Lamb of God, with just a tiny sprinkling of death metal techniques as well. The percussion of this album is closer to that of later Slipknot records like All Hope Is Gone and We Are Not Your Kind, with a more poppier sound instead of sounding like trash (literally).

Besides these deviations, you already know what to expect once you hear about the relationship between Griffin and Corey Taylor. The album has some solid hooks, but they feel disjointed from one another with plenty of filler. The instrumentals are performed/produced well and the vocals are very indebted to Corey, but they also have some death metal grit that even early Slipknot records could not replicate. The albums short runtime is a bonus, but it still feels like a lack of development is taking place, and is not helped at all by a final three tracks that feel like fragmentary ideas.

A lot of my criticisms can boil down simply to "if you like Slipknot, you'll like this." And as someone who has made their criticisms of Slipknot well known in the past, it should not surprise anyone that this really isn't my cup of tea. I can hear interjections within Vended's music that make me believe that they could have a profitable future, but they first need to step out of the shadow of their idols before that can happen.

Best Songs: Am I The Only One, Nihilism, Serenity

From 2011 to 2015, Disturbed was on hiatus. During then, vocalist David Draiman decided to form his own temporary project, Device. If you'd like me to give you a hint at what Device, it's like Disturbed with a more industrial edge...

People already knew Draiman's plan to make more industrial material from some teasers. The industrial side comes from the other member of the project, Geno Lenardo, ex-guitarist of Filter. The heaviness Disturbed fans have expected is blended with electronics for some decent results. It should be noted though that Lenardo was replaced by Will Hunt (Evanescence) and Virus (Dope) for the couple live concerts performed by the band.

Straight into heaviness is "You Think You Know" which rocks out as if Disturbed never had that hiatus, while having a bit of Nine Inch Nails. Draiman's singing is quite strong here, "You think you know but you're horribly blind, you think you know that the story's defined, you think you know, but your heart has gone cold inside." Sounding closer to Disturbed is "Penance". The drumming rhythms and vocal grunts are still around while having some electronic synths. Following this is "Vilify", the best choice for the band's first single. It's a perfect highlight of Draiman's strong vocals.

For their cover of the 80s glam ballad "Close My Eyes Forever", taking the respective places of Lita Ford and Ozzy Osbourne is Lzzy Hale of Halestorm and Draiman, and the song is given a modern electronic twist. "Out of Line" stands out well as another one of Black Sabbath's members, Geezer Butler performs his audible bass, while Draiman and System of a Down's Serj Tankian both sing their perfect lyrical views of the world. The haunting "Hunted" continues taking on the electronic metal fusion as they've done throughout the album so far, showing that they can do it well without relying on guests. "Opinion" rips through with searing soloing by Tom Morello of Rage Against the Machine, having more of the spotlight than in Linkin Park's "Drawbar".

"War of Lies" has some of the nu metal riffing of early 36 Crazyfists. "Haze", which has Avenged Sevenfold vocalist M. Shadows, is another solid collab. These guest appearances really help boost the quality of the album in most cases. The last guest vocalist is Glenn Hughes, known for his solo material and his time with Black Sabbath and Deep Purple, in "Through It All", a nice sentimental rock ballad. I don't really like the bonus tracks enough to mention, except for their cool cover of Nine Inch Nails' "Wish".

You just have to admit how much outer thinking Draiman has with his work. He can really expand his boundaries beyond the band he's usually known for. It works well with some solid standouts, though not so much for a lot else. And the project would stop once Disturbed was revived....

Favorites: "You Think You Know", "Vilify", "Out of Line", "Opinion", "Haze", "Wish"

Hey kids, do you like the 1980s? Do you want to go back?

Most people will likely not even give this new Motley Crue EP a chance because of its title. Cancelled: most will assume that it is a shitty attempt at being edgy and controversial, but in all likelihood, is just a drawn out project where the protagonist calls himself a "bad man" for an uncomfortable amount of time. And, having listened to it I can tell you that this assertion is not entirely the case.

Their are basically only two songs here (three if you count the "Fight for Your Right" cover), but they really do not sound that bad. They sound right out of the 1980s with albums like Shout at the Devil and Dr. Feelgood. The issue comes through in the compositions as neither of these two tracks sound like they were given the same love for their choruses as "Kickstart My Heart" once was. "Dogs of War" is fun albeit generic, while "Cancelled" may well as not have had a hook at all.

Which brings us back, once again, to the lyrics. Now, I avoid tabloids like Loudwire and Metalsucks like the plague. They (like many others) have been revealed to be corrupt shills who jerk each other off and promote "their boys," regardless of quality, while talented, independent musicians get shafted. If an attempt to get Motley Crue cancelled was orchestrated, why should Motley Crue care? Wouldn't "their boys" help them out? Or maybe they are terrified of what might happen next?

Motley Crue should not be in hot water for something that was not considered taboo during their prime. But perhaps they should be in hot water from their bath at the retirement home.

I hate when any project is announced as "the finale" and everyone gives their passionate goodbyes, only for that projects corpse to be lifted out of the coffin like its still 1989. This reunion of Motley Crue is just that and Cancelled represents everything that is wrong with remake culture. And, like with Velma, Motley Crue will inevitably be cancelled after just one season as well.

Best Song: Dogs of War

Starting my time with a band's material via their new album isn't always a conventional way to begin, but I'm fine with Veritas being my first P.O.D. full-album experience. At this point, the band has moved quite far from their rap/nu metal roots while throwing back to them every now and then. Veritas is all about heavy aggression and anthemic power to stay true to what they are...

After releasing many albums in 3-year intervals (on average), they left a 6-year gap since their 10th album Circles. Now their true side is back on board in Veritas (Truth). While P.O.D. still have a bit of their earlier rap/reggae, they have some heavier riff fire here to please the fans.

Straight out of the opening "Drop", the drama bomb explodes with the vicious rapping of Sonny Sandoval and aptly used bass drops. Lamb of God's Randy Blythe unleashes his growling thunder, "Set fire to the system, set fire 'til they listen". Then "I Got That" has the swaying guitarwork of Marcos Curiel as Sandoval's vocals alternate between rapping, singing, and screaming, "We got that underground original, nothing to prove". The aggressive anthem "Afraid to Die" includes haunting singing melody by Jinjer vocalist Tatiana Shmayluk. The vocals by both Sandoval and Shmayluk reach the height of defiance in one of the strongest alt-metal standouts of the year! "Dead Right" is a shorter punk-ish song, alternating between soft and heavy dynamics.

You can definitely recognize what the band is known for in "Breaking". The riffs and rapping stay fresh. The mid-paced "Lay Me Down (Roo's Song)" was written in memory of Roo Bublitz, one of Sandoval's friends. I think anyone who's unaware of that might think this is about that kangaroo kid from Winnie the Pooh. The singing in the chorus has a lot of raw passion, "Live your life, keep the faith, don’t ever cry for me!" Positive lyrics cover "I Won’t Bow Down" that makes another highlight. "This is My Life" sounds like if the post-grunge my brother likes collides with the reggae punk of Bad Brains, complete with guest vocals by Cove Reber of Dead American and Saosin.

Then we have "Lies We Tell Ourselves", another mid-paced anthem. It has a pretty cool guitar solo by Curiel. "We Are One (Our Struggle)" marks a swift return to the earlier heaviness as the band try to tear down the cultural walls holding us back. We then reach the atmospheric conclusion that is "Feeling Strange", as clean guitar and a looped beat lead to a heavy dramatic chorus. A little strange, but I can live with that.

All in all, Veritas has some solid anthems that can please alt-metal listeners and longtime P.O.D. fans. I'm still not up for more of this band though, especially considering the overuse of rap or reggae at times. Still they have their strength, and that is the truth....

Favorites: "Drop", "Afraid to Die", "Lay Me Down (Roo's Song)", "I Won’t Bow Down", "Lies We Tell Ourselves"

Wacky Californian trio Primus are an act that I’ve been aware of since the release of their debut album “Frizzle Fry” way back in 1990 but never really gave the time to genuinely understand & appreciate until relatively recently. I guess I just always assumed that they wouldn’t be something that would interest me but that hasn’t ended up being the case with both “Frizzle Fry” & Primus’ 1991 sophomore album “Sailing the Seas of Cheese” leaving me thoroughly impressed with their unique & quirky take on rock music. I’d always intended to close out my exploration of Primus’ classic trio of releases with 1993’s “Pork Soda” third album but somehow that’s taken a lot more time than I was expecting & I’ve only just closed out that endeavour this week. It’s proven to be a worthwhile exercise too, although I’d suggest that “Pork Soda” was perhaps not quite as satisfying as its two older siblings.

Despite its inherent weirdisms, there’s no doubt that “Pork Soda” is an attractive record. The cover art is humorous & never fails to leave a smile on my face while the production jobs is bright & full, everything you could want for a record like this one that relies so heavily on space & timbre. The musicianship on display here is excellent too, particularly the sublime bass guitar work of front man Les Claypool who was already a bass enigma at this point in his career. The things he can do with his instrument while handling the vocal duties at the same time is nothing short of mind-blowing but his skills are always used creatively & artistically which leads me to believe that Les has a great understanding of the art of song-writing & composition. Former Possessed guitarist Larry Lalonde is the perfect foil for Les, more often than not spewing forth layers of artsy noise that takes the form of controlled chaos. Drummer Tim “Herb” Alexander tends to aim to tie everything together & stays generally well within himself which is what’s required when you’re looking to anchor two visionaries like Claypool & Lalonde.

As with Primus’ first two albums, I have to seriously question people’s ability to hear of they think this record has even the most remote link to metal. There’s hardly a second of the entire 57-minute run time that sees me reaching for metal descriptors with no semblance of a metal tool coming within miles of “Pok Soda”. What we receive here is once again a highly experimental rock record like “Frizzle Fry” & “Sailing the Seas of Cheese’ but this time it’s less funky & much more psychedelic, so much so that I’ve decided that the best way to describe it is experimental/psychedelic rock. There’s a generous fifteen tracks included here so you can expect a few detours here & there but this is generally a pretty druggy & cerebral record & I kinda dig that approach too.

The tracklisting kicks off in very fine style indeed with the first four proper songs all being particularly solid. The quality levels start to jump around a little bit from there but there are also a few stronger inclusions later in the piece too. The decision to include a number of short interludes hasn’t exactly set the house on fire as I found a few of them to be pretty silly but I think that was kinda the point really as I can’t deny that they do help Primus take you to the twisted, sweaty, meth-ridden, red-neck countryside they were obviously aspiring to. Tracks like “Pork Chop’s Little Ditty” & “Hail Santa” just don’t add anything from a purely musical point of view though. My favourite pieces tend to be some of the heavier groove-led ones like “My Name Is Mud”, “DMV” & my personal fave “Hamburger Train” which is essentially an eight minute jazz fusion jam session that would have worked brilliantly as a point of collaboration with my beloved Miles Davis if he was still alive today.

While “Pork Soda” certainly has its strengths, I can’t help but feel that it’s a step down from the first two albums, mainly due its reduced consistency. Given its lengthy run time, I feel that Primus could have culled a few tracks & benefitted the holistic album in the process. As it is though, “Pork Soda” is still an intriguing listen. It’s perhaps not as essential as its predecessors were though.

For fans of Nuclear Rabbit, Mr. Bungle & Flagman.

Just like their previous material, this album loses me in how repetitive and simple it is. Testify opens the album with a perfect example of what you can expect here. A groovy, funky riff kicks off the song well, the ever-impressive bass offering a great backbone. After repeating for a bit, the music all dies down to allow Zack to spit some venom. Then the riff comes back, then it disappears again… The whole time, the drums are essentially playing the same simple beat. By the end of the song, what seemed like a strong riff turns into “wow, that was the only riff on the song and I’m just about tired of it now.”

And then the next track does just about the same thing. Of course, the second track also offers a terrible… kazoo section? There are some surprises on the album, but usually they aren’t… great. The album does have a decent amount of variety between tracks, it’s more so that every track relies on one or two ideas and just repeats them over and over. Sleep Now in the Fire is definitely one of their best songs though.

What IS consistently great, is the basswork. Eternally funky, doing juicier leads than the guitars, the bass has so much power here. Any fans of great lead basswork can appreciate this. Unfortunately it doesn’t save the album from being rather boring, thanks to the other members playing quite simple, repetitive, and unevocative music. Vocal deliverance is strong, but lyrics range from great to poor, and just like the folly of the instrumentation, suffer from being far too repetitive.

I'm not sure who Ronnie Radke hates more on Popular Monster, you, the listener, or himself.

Now, I have made it no surprise through my track record that my tolerance for modern metalcore is thin. This is not to say that there cannot be some gems in this cesspool, but more often then not, they are utterly disposable and interchangeable. As a result, I am completely and utterly indifferent to Ronnie Radke. I found the music in both Escape the Fate and Falling in Reverse to be milquetoast and beyond boring. This trend carries into Popular Monster as it does not appear to have an original bone in its body.

When the album started, "Prequel" had this gradual swell in the instrumentals and Radke's rapping vocals, which then explode into the albums metal breakdown. But it didn't take me very long to start making comparisons to Hardy's Quit!! from just last month. And that album wasn't very original either. Calling on Jelly Roll to perform guest vocals on "All My Life" was just the ultimate sign of incompetence; "This album is nothing like Hardy," so then why did you even bother adding a country singer for one of your promotional singles you dipshit?

The production on the album is certainly not doing FiR (Falling in Reverse) any favors. Metal music published through Epitaph records have always had a severe hit-or-miss quality to them, but this is the furthest thing from good. Most recently, it has been bands like Architects that have taken the heavy brunt of these production gaffes, and FiR take it to a new level; drum peaking, guitar mush, and disgusting synth lines. That just leaves Radke...who is probably the most impactful part of this album. The vocals are delivered with authority and gravitas and speaks bluntly through his lyrics.

Which is about as generous as I can be with lyrics this vapid. Y'know what this album is about? I'll let ya guess....if you said "anti-woke gibberish, cancel culture and gun wielding America", congratulations! You don't have to listen to Popular Monster (your ears will thank you). I know there won't be many who agree with me on this, but when you have a song called "Trigger Warning," maybe include some content that's actually triggering rather than just saying "I'm a bad man" for the eighteenth time. It's all performative and it looks embarrassing. If Radke was looking to win new fans with Popular Monster, he failed spectacularly.

Popular Monster is an album made for people who believe Radke has done nothing wrong; that all of his legal issues were conspiratorial and everyone trying to cancel him are just mad that he is an asshole. And at this point, you don't really need to cancel Ronnie Radke or Falling in Reverse. They will do it all by themselves.

Best Songs: Watch The World Burn

Falling in Reverse is one of the least liked bands in rock/metal, maybe even the world. All the hate is pointed towards frontman Ronnie Radke. He can be considered, y'know, dangerous, with his multiple arrests for assault (whether physical or sexual) and battery, the mugshot from one of his arrests being used for this album's cover. His first arrest was the most notorious; he was in a fight that resulted in a young man getting shot dead. Although Radke didn't pull the trigger, he was arrested for his involvement in the fight and was sentenced to probation which he violated and subsequently served two and a half years in prison. Around then, he was the lead vocalist for Escape the Fate and was fired from that band. He decided to form his own band while behind bars and write some material to send to a few musicians he was in contact with. It wasn't until Radke was released from prison in late 2010 when the band got together to work on their debut, and the rest is history. CONTROVERSIAL history... Now as I've said before, I'm the kind of person who doesn't put direct association between art and artist. Just because someone is considered a total d*ck doesn't mean their music is automatically dogsh*t. Though exceptions can be made for those known for more serious stuff like murder and Nazism (Burzum's Varg Vikernes would qualify in both categories). Some music you can enjoy without thinking too much about one of the band members and what they've done, but we live in a world where people can easily put you down for something you like, which is what this site is supposed to prevent. With that said, it's time for me to say something that is going to stun a lot of you. So here it goes...

I F***ING LOVE POPULAR MONSTER!!! That's right, I said it! Anyone can hate this album and the band, but personally, I find no reason to give it a thumbs-down, and that's my true opinion. This is the epitome of a modern alt-metal sound blended with metalcore, trap, and other genres. And it's a drastic improvement from their mediocre previous albums that are basically just pop-core. I can witness a lot of talent from Radke and co. with their respective roles. 3 quarters of the album was already pre-released as singles, but they certainly shape it all up, and a good feeling was already made from the millions of streams some of the singles has earned. This proves that no matter how shunned a band can get, they can sweep the globe. A good metaphorical meaning behind the title of this monstrously grand album, Popular Monster.

Starting track "Prequel" introduces you to this dark world with an ominous tribal march, as Ronnie takes on some poetic diary-like rapping that can actually outshine Eminem. As all this is happening, an epic buildup slowly grows, and Ronnie warns the haters to, if they have anything bad to say, let him know directly. Right at the very height, he pulls off some impressive falsetto singing, and the heaviness crashes down on you like a world-destroying missile. His girlfriend Saraya (who guest appears in a song later on in the album) would definitely use that her entrance theme for wrestling tournaments. I understand if anyone wants to skip that track for something more upbeat, but for me, it's a glorious start to this monstrous offering. The title track has definitely deserved topping the charts. That's actually the earliest hint of the album, having been released as a single 5 years prior, and with founding rhythm guitarist Derek Jones before he passed away. RIP... "All My Life" is rather different while not deviating from the album's heavy sound. It's a country metal track featuring country rapper Jelly Roll. Radke seemed quite confident to hop into a different genre, and it paid off quite well. There's great synergy between the vocalists. Now I probably would've hate a song like this if it existed at least a year ago, but my tolerance has greatly grown. Probably because of BOI WHAT's "Rock Bottom" that is a country metal hoedown starring pretty much the entire main cast of Spongebob Squarepants.

"Ronald" is actually the track that made me interested in Falling in Reverse and this album, a massive explosion of deathly metalcore with a rapping verse by Tech N9ne. But the epic climax comes in beyond the two and a half minute mark leading into a brutal breakdown more powerful than anything Lorna Shore has done, for real, growled by Alex Terrible of Slaughter to Prevail. Yeah, I know, that guy is indeed considered terrible for the neo-Nazism he's accused of, and I mentioned that I'm drawing the line on Nazi musicians. Nonetheless, I like a couple tracks with his vocals, such as his "BFG Division" vocal cover. Just don't expect me to listen to a lot of his band. So yeah, on "Ronald", everything is so deathly and melodic all at once! "Voices in My Head" is fast and furious in the guitars and vocals, and the pop rap influences I normally don't want too much of, I approve! Now we head into the new songs with "Bad Guy", with guest vocals by the aforementioned Saraya. Following some rap verses, the song explodes into the usual heaviness in the chorus, and Radke battles against the haters and wears his "bad guy" epithet in pride. Saraya takes over the chorus towards the end. Now that song I like more than the Billie Eilish one! "Watch the World Burn" is another example of rap metal gone epic. The greatness of that song can practically compete with the Trivium one!

"Trigger Warning" is where Ronnie tackles his homeland of America with a blend of metal, rapping, and synths, ala Marilyn Manson. Usually these Manson-esque kinds of tracks irk me, but that one's quite clever, though I know how divisive it might be. "1. Resistance is futile, 2. Comply if you can, 3. Trust in your government, 4. We got blood on our hands. D*mn, this is irrelevant." Next up, "Zombified" is a total anthem of intense energy, standing against the cancel culture Ronnie was suffering in. Love that one! "No Fear" is the best one of the new songs. Again we have some fast Eminem-like rapping and a clean chorus in front of an epic choral background. The heaviness only comes up briefly in the bridge. Still everything's quite excellent! Interesting is the final track, a cover of the Papa Roach hit "Last Resort". Instead of heavy guitars, drums, screams, and rapping, Ronnie sings his heart out in full emotion over strings of despair. Remember Disturbed's piano cover of "The Sound of Silence"? It's like that but more bombastic.

Popular Monster may not be for a lot of music listeners, but it certainly opened my ears to the talent for Falling in Reverse. It's honestly quite a unique release in the metal and hardcore realms. This experimental alt-metal style is something done in different ways by bands like Sleep Token and Bad Omens, yet Falling in Reverse step in with a more diverse mix. If anyone doesn't want anything to do with this album or band, they have their own ways. Just know that one man's sh*t is another man's treasure. One of modern alt-metal gold!

Favorites: "Prequel", "Popular Monster", "Ronald", "Watch the World Burn", "Zombified", "No Fear"

The problem with having a band with a huge number of members (9) is, you're bound to have a change in lineup in almost every album. For Mushroomhead, it has gotten to the point where percussionist Steve "Skinny" Felton is the only founding member left in the group. The only other consistent founding member was Jeffrey Nothing until he left in 2018. Recently, Nothing started his own version of the band and threatened to sue Felton's band for unpaid royalties.

The new album Call the Devil maintains two of the vocalists from their previous album, Jackie LaPonza and Steve Rauckhorst. Long-time on-off vocalist Jason "J Mann" Popson was replaced by Scott "xtriker" Beck. And making a comeback after 12 years away is Steve's brother Dave "Gravy" Felton on guitar. The powerhouse continues...

Opening track "Eye to Eye" begins with what sounds like old-school radio banjo playing, then the groove-ish action kicks off in the guitars, drums, and vocals by Rauckhorst. The heavy catchiness that makes up Mushroomhead's sound is all in here. "Fall in Line" is a kick-A single marks the debut of Beck. Lots of fresh yet usual music and lyrics here, "You’re killing me with all your sorrow". This is true heavy sh*t while often melodic! "Emptiness" takes on slower experimentation. There's some progressive energy from the funky guitar and ambient background synths. "We Don't Care" aptly shows the band not caring about anything except their own thing. It's like they've taken a song from one of their 90s albums and made it much heavier. An instant classic!

"UIOP (The Final Reprieve)" is the first of a couple filler tracks, which starts with sinister creepiness, then it comes out as more of a d*mn jam track. Honestly, they should've left that track out of the album. "Prepackaged" has the dark heaviness, but their attempts at that are a bit too drastic. "Decomposition" once again has a creepy carnival intro before the mid-paced doomy instrumentation begins. It fits much better for a circus show than a metal concert. "Grand Gesture" stands out here as a stylistic ballad. It's not often you get to hear a ballad from this band, nor a ballad I actually like. "Hallelucination" has more of the uncomfortable experimentation that sounds too random.

Better effort from the band can be heard in "Hideous". Then "Torn in Two" has the guitars, beats, synths, and vocals collide with one another for something ominous and heavy. One of the strongest comebacks to the band's roots! "Shame in a Basket" is a monstrous 8-minute epic, complete with dark ambience that leads into the usual guitar heaviness and vocals. So perfect! Ending track "Doom Goose" is a weird minute and a half outro, with the actual sounds of a goose honking.

Skinny is still going strong with his band and keeping it rolling with his and fellow members' writing, along with their masked performances. Call the Devil is definitely a true comeback, though it could do without a couple filler tracks....

Favorites: "Eye to Eye", "Fall in Line", "We Don't Care", "Grand Gesture", "Torn in Two", "Shame in a Basket"

Released in 1987, ‘Introduce Yourself’ is the second album by alternative metal outfit Faith No More. It follows on closely to the sound and style of its predecessor, only a slightly better production sets them apart.

I wasn’t overly keen on 1985’s ‘We Care a Lot’, and honestly, I kind of struggled with this one too! The band were certainly something different and unique at the time, and their song-writing is becoming more confident, but, like many later fans, I guess I just tend to dismiss these early, Chuck Mosley releases.

Chuck Mosley, of course, is the vocalist who would be replaced after this album by powerhouse front man Mike Patton of the band Mr. Bungle. Mosley’s rap-like style worked fine, but, I guess it kind of put a limit on what the band could do, and if any band were to thrive without any limitations, it would be Faith No More.

Clutching at straws, but if I had to pick out any notable songs, there’s ‘Chinese Arithmetic’, ‘Anne’s Song’, ‘Blood’, and in particular, a re-recorded version of ‘We Care a Lot’, which is probably the only song I really care to come back to, if ever. It’s a shame, and I certainly don’t mean any disrespect to Chuck Mosley, but with this album out of the way, Faith No More can really move on to becoming the metal heavyweights that they are, while ‘Introduce…’ and ‘We Care…’ can both slip away into obscurity, at least for me, anyway.

It’s crazy to think, but when Limp Bizkit’s second full-length album, ‘Significant Other’, was released way back in 1999, not only was it a huge hit, but gradually built up to the Florida five-piece becoming one of the biggest bands on the planet. For all the angst, attitude and cheesiness, it’s exactly what people, in particular, the youth of the world, needed back then.

Bizkit’s sound is heavily influenced by a combination of 90’s alternative metal and hip-hop, building upon the style established by bands like Korn, and in particular, Stuck Mojo. Some tracks here are all-out metal, while some sway more towards hip-hop, with more focus being on vocalist Fred Durst rapping. Both work well for the band, with Durst effortlessly being able to blend clean singing, aggressive shouting, and rapid-fire rapping. And his vocals fit perfectly with guitarist Wes Borland’s creative and interesting guitar playing.

And if you’re into this sort of thing, there’s a few appearances from some noteworthy vocalists, including Jonathan Davis from Korn, Aaron Lewis from Staind, Scott Weiland from Stone Temple Pilots, Les Claypool of Primus fame, and the one that probably had the most impact, Wu Tang Clan’s Method Man. His duet with Fred on hit single ‘N 2 Gether Now’ likely helped the band gain more mainstream recognition, as well as appeal more to hip-hop audiences.

‘Significant Other’ features an abundance of great tracks, such as heavy hitters ‘Nookie’, ‘Trust?’ and ‘Just Like This’, huge hit ‘Re-Arranged’, which shows the bands melodic abilities, and rap-inspired tracks such as ‘Show Me What You Got’ and the aforementioned ‘N 2 Gether Now’. Then of course, there’s one of the biggest nu metal anthems ever, ‘Break Stuff’. If you don’t get pumped up at the sound of those opening chords and Fred Durst proclaiming that ‘It’s just one of those days…’ then you really need to stop taking it all too seriously.

Overall, ‘Significant Other’ is a great album that still holds up well today. It came out at just the right time that people needed aggression in their music, but also enough catchy hooks that mainstream audiences were able to get involved too. It’s a huge step up from their debut, and shows a band who are heading on to greater things.

Allowing some electronic and pop sensibilities into my metal has been a recent trend from the last couple of years. Starting with the completely unexpected success of Bad Omen’s last full-length release, I have flirted around with these once considered alien elements to little if any success. The fact is, there’s a dirge of such styled artists and bands around nowadays and the exploration is at best underwhelming despite the extent of the resource to run at. Sleep Token landed on one of my workout playlists that my streaming service devises with The Summoning, a six minute plus varied track with some killer riffs that initially piqued my metal interests.

Multiple playbacks of that track eventually brought me round to considering it worthy enough a gateway into Take Me Back to Eden, the band’s album from last year. Initial exploration soon taught me that the riffs of The Summoning were an isolated affair, and the more mainstream and commercial leanings of the album did not sit right with me at all. It has taken a few attempts (mostly during recent hotel stays on my own with headphones and my phone) but I now feel I am there with Take Me Back to Eden. Quite where “there” is takes a little explanation.

The heavier elements in the rhythmic structures of Sleep Token’s third full-length are more commonplace than I first believed. As big a draw as this is for me, they do also however lack variety and sometimes just feel like they are put in place for the hell of it. The fraught lyrical content gets a substantial and well characterised delivery in the unique vocals of Vessel. Sounding like some bastardised version of George Ezra meets metalcore, the vocals are complimented by various influences of music ranging from metal, through pop, through trap and even jazz. All are done with a panache that shows a skill and deftness for a varied musical palate.

For the first eight tracks, this fluid soundscape works well. For the final four tracks…not so well. This is because Sleep Token have far too many ideas but not enough quality structures to frame them in. The album sounds immediately tired to the point of exhaustion as soon as the dull tropes of DYWTYLM kick in and this marks the end of Take Me Back to Eden long before the title track even gets a chance to play. There are still catchy lines and hooks aplenty in the final parts of the record, but they are cast splattergun-like into songs that lack form and identity. Only on occasion do they surface for deserved recognition, but they are all too soon forgotten (even with repeated plays) and I find myself just listening to the earlier “hits” like Chokehold, The Summoning, Granite and Aqua Regia instead.

When it comes to nu/alt-metal bands, some of them seem interesting enough for me to try and others just soar past my mind. I never thought of checking out one of System of a Down albums until just recently, so let's see how this album Mezmerize stands out...

There's a lot you can think of when hearing System of a Down. Maybe something like Rage Against the Machine gone Dead Kennedys. Mezmerize is part of a double album with the other half Hypnotize released 6 months after. It's a blizzard of dark energy and comedic joy blended together into one. It's heavy enough to tear you asunder while giving you something to smile about and turn the pain into pleasure.

"Soldier Side" is a soft melancholic intro, and I almost thought it was going to lead into something like epic power metal. "B.Y.O.B." quickly proves me wrong by launching into a thrashy intro followed by a blend of Iron Maiden-like verses and nu metal choruses. An epic diverse start to this offering, and the main reason why I became up to listening to this album, when my brother was listening to that song. "Revenga" kicks off the heaviness with some fast riffing to remind me of Black Sabbath's "Children of the Grave" before going all wacky like some of Devin Townsend's more comedic material. "Cigaro" is a strange song that can be considered "c*ck mock rock".

The chorus of "Radio/Video" sounds too repetitive and fails to give the song the memorability it should've had. The verses have good rhythm too, but they often dive too deep into a reggae dance. "This Cocaine Makes Me Feel Like I'm On This Song" is filled with speedy fury spawned from Jello Biafra's projects such as Dead Kennedys and Lard. "Violent Pornography" starts with a Wild West-like ominous intro but swiftly turns lyric-spitting rapping that has confused me. The chorus is nice though.

"Question!" has a different structure I like. You just gotta hear it to believe! "Sad Statue" isn't sad at all, filled with rage and humor. "Old School Hollywood" is a decent song to expect from the band. Finally, "Lost in Hollywood" is a great track to end this release, a ballad I actually like. You'll definitely sing your heart out to this lovely hit!

Anyone who has System of a Down's 1998 debut or their 2001 album Toxicity as their own entryway to the band's material, I can understand. I mean, who in the nu/alt-metal world has not yet heard one of their earlier classic hits like "Chop Suey"? But I've encountered more than just their singles by checking out one of their full albums for the first time, the less conventional choice Mezmerize. I don't know if I'll be up to following it up with its companion Hypnotize, but maybe one day....

Favorites: "B.Y.O.B.", "Revenga", "This Cocaine Makes Me Feel Like I'm On This Song", "Question!", "Lost in Hollywood"

The early 90's was a terrifying time to be a classic thrash band. By 1993, the grunge scene had unceremoniously stripped thrash metal's audience with some of the remainder being carried away by the death/black metal boom so many of the major bands were all fighting for a smaller market share. Pantera had also hit on a key niche of the market with their fresh new groove metal sound that had taken the metal scene by storm &, in order to survive in that environment, many artists simply chose to jump onboard the grunge or groove metal bandwagons with mixed results it has to be said. Big Four member Anthrax was one such act with their 1993 sixth album "Sound of White Noise" seeing the five-piece transitioning away from their thrash metal roots for a sound that took an each-way bet on the grunge & groove metal movements. Many fans would immediately jump off the train but the inclusion of talented Armored Saint front man John Bush in place of classic Anthrax singer Joey Belladonna had certainly peaked my interest, particularly given that I was a huge fan of Bush's work on the Saint's 1991 fourth album "Symbol of Salvation". Ben would purchase "Sound of White Noise" on CD upon release & we'd both spend some time adjusting to the new Anthrax direction. Interestingly, I recall both of us really enjoying it & nothing much has changed there either.

Although "Sound of White Noise" is generally regarded as a groove metal release, I would argue that there's actually a lot more alternative metal here, easily enough for a dual primary tag with thrash metal being the lone secondary influence. To say that "Sound of White Noise" sounds like a different band to the one we heard on classic thrash records like "Among The Living" or "Spreading the Disease" is not entirely accurate though. You can still clearly hear a lot of the techniques the band had made their calling cards but they're used more sporadically here. Tracks like "Potters Field", "Invisible", "C₁₁ H₁₇ N₂ O₂ S Na" & "Burst" would have comfortably fit on earlier Anthrax records though so this isn't a completely foreign environment for extreme metal fans. Bush's more masculine vocals are certainly a little different from Belladonna's but not to the point that you couldn't easily imagine him singing the earlier classics pretty successfully. I personally gravitate more to the Bush tone anyway so this change was always gonna appeal to me. He doesn't nail everything in front of him here but, after a few listens, I can't imagine too many punters feeling like he'd rained on the Anthrax parade.

The eleven-song tracklisting doesn't tend to unveil all of its charms upon first listen & repeat listens definitely see it opening up progressively more. There are a couple of genuine Anthrax classics on show if you're open to discovering them. The obvious highlight of the record is the anthemic single "Only" which possesses an absolute belter of a chorus hook & is the best reference for the skill set that Bush brought to the band you're likely to find. High-octave, energetic alternative thrasher "C₁₁ H₁₇ N₂ O₂ S Na"  is also an underrated gem & I've found that it's dug its talons into my flesh to ever greater depths over the last week. The rest of the tracklisting ranges from pretty decent to very solid with only the lackluster alternative metal number "Hy Pro Glo" failing to offer me any level of appeal. Perhaps there aren't enough tier one inclusions to see "Sound of White Noise" pressing for Album Of The Year honors but it certainly had enough about it for Ben & I to remember it very fondly amongst our childhood memories.

So, where does "Sound of White Noise" sit in the prestigious Anthrax back catalogue then? Well, it might surprise a few people to hear that I actually rate it somewhere in the middle rather than towards the bottom rungs. I'd comfortably take it over the legendary New York thrash metal establishment's 1984 debut album "Fistful of Metal" & also feel that it's a more consistently interesting record than 1988's "State of Euphoria" fourth album which was more acceptable than it was impressive. Many people seem to try to tarnish this record with a harshly-worded groove metal brush but that's not a true reflection of the quality of the song-writing or the professionalism in the performances. Anthrax were a high-quality metal act who have produced another high-quality metal record here in my opinion but there's no doubt that it requires thrash fans to go into it with an open mind.

For fans of Acid Drinkers, Prong, Sepultura.

We have once again returned to the world of late 2010s metalcore bands that I have no association with. My ties with melodic metalcore were severed around 2008-09 when deathcore started to become super popular and began to dominate the Warped Tour scene. I found myself drifting further away from that clique as I continued to dig myself into more progressive music, as well as building my foundations of jazz music. So, Wage War were a band that completely passed me by during the 2010s. Their debut, Blueprints, was generally favoured I guess, but I couldn’t tell you anything about that album or any of the subsequent releases by the band.

And despite the quality of the music found within STIGMA, I can give Wage War credit for not releasing the same barebones, meat-and-potatoes metalcore album again. This album has some artistic growth on it, most notably in its industrial and synthetic elements. STIGMA does not maintain a static format throughout the entire runtime, and I can give credit where it is due.

Unfortunately, that is where the credit to Wage War ends because wow is this album generic. Modern metalcore gets a bad reputation for being painfully generic and uninspired and I can only imagine the critics saying that were staring directly at Wage War while they said it. STIGMA commits the cardinal sin of making every breakdown sound like it was composed on an AI bot with its painful buildup, always plateauing on the same tired callout by the vocals, before transitioning into a clearly chopped up metalcore breakdown. I hear more variety on a lofi hip hop collaboration!

The sequencing is even worse. Wage War are clearly tired of the same old stuff, which is why they added industrial elements into this album. But song transitions do not work well at all. It is almost an issue of STIGMA trying to do way too much. “MAGNETIC” is okay, but how do you pair it with “NAIL5?” It is such a baffling change of style and direction that somehow made “MAGNETIC” less enjoyable. And then it happens again at the end of the record, with “HAPPY HUNTING” into “HELLBENT.”

And then there is the mixing. First and foremost, the guitars sound tinny and sharp, rendering much of the power required for these breakdowns to work mute. And the cacophony of sound during the albums sung choruses is mind numbing. How can one listen to the hodgepodge of noise on “IN MY BLOOD,” notice that the vocals are being swamped, and say “yeah this sounds good, print it?”

The fall of modern metalcore is quite a shame, but not surprising if you examine it for more than thirty minutes (almost the amount of time it takes you to listen to this whole album). I wish that more modern acts would look back towards the early 2000s or beyond and really learn what it takes to write a good hook. Because where we are at this moment, STIGMA by Wage War is a breakdown album with the occasional verse interlude. If not this, then at least try something a little bit more off the rails. I mean, Reliqa released an album this year that is basically progressive nu metal. I recommend sticking with that.

Best Songs: TOMBSTONE, HELLBENT

Sometimes curiosity gets the better of us all.  Just how bad does an avocado taste?  Is Keeping Up With the Kardashians all that bad a TV show?  What's in that hole that's too dark for me to see into but just big enough to get my hand in?  Whether you have come away from such ventures with a foul taste in your mouth, a compelling wish to have your eyes cleansed with a powerwasher or are simply looking for a donor for a hand transplant, it is safe to say that curiosity does not alway pay dividends.  My main stings come from putting together The Pit clan monthly playlists and as my curiosity in groove metal expands I find myself straying into territory I am not usually known to frequent.  On balance, and to prove that curiosity can work really well my recent discovery of A Life Once Lost's Hunter album was a great success, and although you will see from the star rating that N.A.T.I.O.N. does not fare anywhere near as well I must still flag the limited appeal of the record that has kept me coming back to it for the past four weeks or so.

Playing as a bastardised form of alternative metal with some groove and core elements slung in, this record certainly has its share of peaks and troughs.  The obvious single fodder of Killing Me Slowly, Sober and Learn To Walk Again possess that skin irritant level infectiousness that can cause the more extreme metal fan to scratch several layers from their skin.  Yet the latter of those three is actually may favourite song on the whole album and is a killer track to workout to with a couple of dumbells in your hands.  Likewise, the catchy lines of No Messiah imprint enough of a weighty impression on me to include that on my functional strength training playlist also.  When allowed to take centre stage, the groove metal riffs on the album give a real sense of an act with some "oomph" behind them.  As strong as any other plyers in the groove metal field as this appears to make them, these moments are all too often shortlived though and the main issue that I have with N.A.T.I.O.N. starts to take hold of my listening experience.

There seems an obvious and consistent attempt to sound commercial and mainstream on the album as we get bogged down in ballads (Better Off This Way, Sober) or the mindlessly compressed chaos such as Foe or Friend or The Consumerist that genuinely hurt my brain to listen to. Vocally, the album ranges from some near drawling modern country style through to scathing screams with the main emphasis being on the former as the songs seem to focus with a heavy reliance on emotion driving the messaging. With competent yet never remarkable drumming and a similar description can easily be applied to the guitars, N.A.T.I.O.N. soon becomes more of a drain than a draw.

Perhaps starting this review with the phrase "nu metal" might give a bad first impression. I've mentioned in other reviews of nu metal albums that I have a churning feeling in my stomach whenever I think about the edgelord gloop that was popular during my adolescence. But it was music that was substantial in refining my music tastes and what I did (and didn't) like about heavy music. And every so often, a new band comes along trying to recapture some of that nostalgic, early 2000s sound and I always prepare for the worst.

Reliqa are one of those rare breed of nu metal bands that don't sound incredibly dated or cringe. I adore Monique Pym's vocal timbre on Secrets of the Future from her powerful cleans and excellent chorus development and growth. And the rapping shows a lot of potential as well; Reliqa are not filling this album to the brim with Fred Durst or Mike Shinoda type rap vocals, instead they appear occasionally, almost serving as a pre-breakdown buildup where the a capella callout before the drop can be executed with authority.

The compositions on Secrets of the Future are really well done. I sometimes use the term "progressive pop" to refer to music like this, even though these two identifiers are not typically matched together. There is a style change during the bridge of "Killstar (The Cold World)" that is pulled off with the sort of technical precision that you would expect out of a Dream Theater album, but it effortlessly connects the outer two sections of this track without feeling like two completely different songs. 

Production wise, this album overall sounds a little too heavy, as if it was a casualty of the loudness war of the late 2000s. But this has become a modern trend in metalcore in recent years so I find it hard to blame Reliqa specifically, but that does not mean I have to like it! If the record was a little bit more compressed in the instrumentals, it could have allowed for these quieter sections with electronic percussion and synthesizers to sound more ethereal instead of acting more as an interlude before the next howling chorus. 

I had a hard time believing that my progressive friend group would have found Reliqa to be such an interesting and upcoming metal band, but one listen to this album's promotional singles and having sat with Secrets of the Future for a couple of weeks now it all makes sense. This is fancy stuff; it has that feeling of nostalgia for early 2000s nu metal without sounding like it came out of the 2000s, and Reliqa know how to write catchy pop metal without having them sound soulless. If they could find better producers for any follow up material, it would be safe to say that the future of Reliqa should be no secret to the wider heavy metal community.

Best Songs: Cave, Killstar (The Cold World), Sariah, Physical, Upside Down

Bad Omens was rocket-launched into popularity with their 3rd album The Death of Peace of Mind, mainly due to one of its singles "Just Pretend" being used a lot in TikTok. Their next album, Concrete Jungle [The OST] continues what they have in that album with more experimentation than before...

Since there are people who often compare the band's self-titled debut with Bring Me the Horizon's Sempiternal, if we continue that comparison path, this would make the Concrete Jungle release Bad Omens' very own Music to Listen to, a remix album based on their previous one (Think we'll get a concept EP and album later?). Anyway, one third of the album has new tracks, the second third has remixes, and the final third has live versions. I'm just gonna go with the new tracks, which I consider the main meat.

"C:\Projects\CJOST\BEATDEATH" is an odd intro, but it works well for the game's main menu. Then the actual album with "V.A.N.", a kick-A collab with Poppy. To paraphrase part of the first verse, it gets more powerful every minute. Although Poppy's vocals are both beautiful and wicked, it would've been nice to hear from Bad Omens vocalist Noah Sebastian as well, but the song is still perfect. The lyrics are so disturbing yet intriguing ("Isn't it strange to create something that hates you?" "I AM DEATH AND I AM NOT ALONE!!!!"). "The Drain" features Health and Swarm. The cyber sound of Health lets Noah flow through fittingly. Dark disco metal???? Sure seems like it!

Turning things around with rapping is "Terms & Conditions", led through by Bob Vylan (anyone here almost misread his name as Bob Dylan?), "Who they killing, when they making a killing". The production is quite clear, though the track doesn't really stand out well when it's just industrial hip-hop. Wargasm strikes on in "Heondist [Recharged]", packed with synths as heavy as the guitars. I've already heard of Wargasm via their remixes with Enter Shikari and Crossfaith. Milkie Way's vocals are more hyper than a sugar-buzzed cheerleader, and that's what I like there! Then we have a synthpop-ballad-ish track in "Even". Interlude "Loading Screen" is definitely what you would expect from an old-school PlayStation loading screen.

Really peaking at the height of the album is "Anything > Human", a collaboration with ERRA. The guest appearances by that progressive metalcore band's two vocalists shine as beautiful as Noah's vocals. An absolute favorite of mine that should be heard by future generations! We then have the long instrumental "Digital Footprint" that can once again be the music for a video game's loading screen. Still it doesn't harm the album's quality so much. Finally, iRis.EXE lends her vocal beauty to "Nervous System" with some of the strongest lyrics to go with a steady beat, "You want to hurt me?"

Again, the remixes and live performances are a separate thing from the main album, so I don't plan on going into that. Even then, Concrete Jungle is quite strange while worth having your heart and mind embrace its material. The guests are well-chosen without a doubt. Poppy, Health, Wargasm, ERRA, iRis.EXE... How can they not be liked? If the Death of Peace and Mind era really ends with this album, it's a pretty solid ending. Though the long-time fans may be uncertain of the band's possible future direction....

Favorites: "V.A.N", "The Drain", "Heondist [Recharged]", "Anything > Human", "Nervous System"

Times of Grace was formed in 2007 by Killswitch Engage guitarist Adam Dutkiewicz when back problems caused him to go for emergency surgery. Helping him out in this side-project is then-former KSE vocalist Jesse Leach. After their 2011 debut The Hymn of a Broken Man, the band was put on hold when the powerful well-praised Howard Jones left KSE and Leach returned to take his place. But that didn't mean Times of Grace was completely finished. Since 2016, Dutkiewicz and Leach spent some of their time outside of KSE writing and recording the next Times of Grace album Songs of Loss and Separation, with a final finishing boost when COVID put touring to a global halt. The end result is a strong collection of songs with a decent load of crushing riff-fire and emotional lyrics, despite the music moving away from Gothenburg. Pure greatness!

Well, despite some metal in here, you can't expect everything to be, well, metal. There's barely any of the violent rage from heavier metal genres. What we have is something more spiritual, more rock-ish, more, dare I say, radio-friendly. Anyone with a negative view on metal can give this album a spin and, with the best of luck, end up changing that negative to a positive. Imagine taking the more melodic side of the second Killswitch Engage album Alive or Just Breathing and expanding on that. The more soothing while still heavy music and positive lyrics will make those people think twice before putting down metal as a whole.

In saying that though, I have to question what the band were doing with "The Burden of Belief". Nonetheless, it's beautiful and filled with lyrical faith. It's "Mend You" that really gives us the sound we need, a d*mn perfect rocker with optimistic vocals and harmonic nostalgia for both heavier metalheads and rock listeners. And no matter how radio-friendly it gets, I still love it. A more b*lls-out Breaking Benjamin, you might say. But they don't wimp out on their metal tendencies with the riff-tastic "Rescue".

"Far From Heavenless" has some Opeth-like prog, as Leach's lyrics help burn away any hate brought down onto religion. "Bleed Me" is mostly acoustic, but when the electric guitar pours in, it has a similar vibe to the slower more melodic Trivium songs. Once again turning into a bit of prog-metal is "Medusa".

Just hearing a bit of "Currents" can get you thinking of the band Currents and Fates Warning at the same time. Then "To Carry the Weight" is pretty much a modern-day response to Soundgarden. Now for a song titled "Cold", there's really a lot of gentle warmth. The 6 and a half minute closing track "Forever" ends the album beautifully to satisfy any listener and giving them something to look for in the future.

So what's not to f***ing love about this album? Songs of Loss and Separation continues what made this band and Killswitch Engage great, albeit exchanging most of their metalcore with something more pop-rock-ish in a way that is never sh*tty. And even in some of their radio-friendly moments, they can still sound metal as f***!

Favorites: "Mend You", "Rescue", "Bleed Me", "Currents", "Forever"

Bring Me The Horizon sure took their time to finally release the full length album in the Post Human series didn’t they? The EP, Survival Horror, was a project that wanted so desperately to bridge the gap between power pop and mainstream metal but failed to meet expectations by having a baffling production choice. Now fast forward nearly four years and the first full length album from BMTH (Bring Me The Horizon) is finally out. I wonder why it took so long for this record to be released, because as far as I am aware, the first promotional single for this album, “DiE4u” was released in September of 2021. Frontman Oli Sykes claims there were “unforeseen circumstances” that led to its delay.

However, upon listening Post Human: NeX GEn, I wonder how much validity can be put into that claim from Oli. With a few exceptions; those being the Deftones influence of “liMOusIne” as well as Smashing Pumpkins on “n/A,” this hour-long album sounds eerily like another pop metal album that came out in 2022: Bad Omens’ The Death of Peace of Mind. It could stand to reason that this record was delayed under the pretense that it would be compared to that Bad Omens record, and likely ridiculed for stealing. And we couldn’t have one of the 2010s most popular metal bands be called plagiarists, right?

Alright, conspiracy theories aside, Post Human: NeX GEn is a far better produced record that Survival Horror. The guitars first and foremost actually have some grit and power behind them that were drastically missing in the mix on the last EP. The percussion is still heavy, but that might be because NeX GEn has even more electronic elements than before. And these are not just the occasional record scratch or synth line; we’re talking full on glitchy hyperpop production that reminded me of 100 gecs. Some of the records electronic breakdowns can be extremely jarring with their dynamic whiplash and its pin-point precision stop and start nature.

Like with 100 gecs, Oli Sykes has optioned for more synthetic vocal textures, including autotune. Surprisingly, the vocals are much improved from the last record and the sung/scream dichotomy of this album is more balanced. It does feel like a modern evolution of the BMTH sound from the early 2010s. The main melodic lines of “YOUtopia”, “DArkSide” and “LosT” are obvious standouts.

As for the remainder of the compositions, well I already mentioned the Deftones influence of “liMOusIne,” and with AURORA doing guest vocals, it does sound like BMTH doing their best to get on board the “V.A.N.” It’s solid enough of a song. “AmEN!” is the closest BMTH will likely ever get to replicating their Suicide Season or There Is A Hell… sessions, also calling on Lil Uzi Vert and Glassjaw’s Daryl Palumbo for greater emphasis and even louder soundscapes. “R.i.p. (duskCOre RemIx)” is the one song here that feels out of place; although the glitchy soundscape does fit right at home, the guitars are muddy, chopped and screwed, the vocals are painfully lacking, and overall, it just sounds terrible. “Dig It” closes the album and has some promise with a grand crescendo throughout its runtime and deserves its extended runtime (minus the two minutes of silence of course).

Although it does feel weird to say but Bring Me The Horizon are kind of playing catchup these days. Ever since 2015’s That’s the Spirit, this band has been experimenting with making metal more accessible. Although their efforts are not spectacular, I commend them for their resolve. However, with artists like Bad Omens and Poppy doing the BMTH shtick better than BMTH, and receiving mainstream recognition for it, where does that leave Bring Me The Horizon? Well it leaves us with Post Human: NeX GEn, an album pushing boundaries with its hyperpop production, but it feels surface level as if to only ramp up the volume.

Best Songs: YOUtopia, a bulleT w/ my namE, LosT, Dig It

It’s 2004, and one of the biggest rock bands on the planet, Linkin Park, have collaborated with one of the biggest rappers on the planet, Jay-Z, to produce one of the most shameless and pointless cash-grabs on the planet, ‘Collision Course’.

I mean, I like both artists, and this EP, which basically takes music and lyrics from both artists repertoire and mashes them together, does work at times, but honestly, it is just a shameless attempt to make some dollar, and given the choice I’d much rather just listen to each respective artists work.

But for what it’s worth, since Linkin Park’s music is already fairly rap-oriented, this really is just Linkin Park with a second rapper. Simple. At times the music and lyrics blend well and it’s interesting to hear what amalgamation the musicians have come up with, but at other times, it’s cringe-inducing and cheesy. But as I said before, I’d rather just listen to some actual Linkin Park music, given the choice.

I’m glad it’s not a full-length album, that’s for sure. At 22 minutes in duration (and a “making of” DVD in some cases) it’s a harmless enough EP, but overall this is just a novelty item for fans of either artist.

By 2002, nu metal had peaked. With world domination accomplished, the only way forward was down, and with that, so many bands that were “on top of the world” found themselves quickly discarded and back down from massive festivals to small clubs. And while a handful of groups, most notably Linkin Park, were able to outlive the subgenre, one of the bigger casualties was Californian quartet, Papa Roach.

The Roach’s 2000 major label debut, ‘Infest’, saw the band at the forefront of the scene, with a number of major hit singles, in particular, ‘Last Resort’, transcend the metal genre and branch out to casual radio listeners. In 2000, Papa Roach were arguably one of the biggest bands on the planet. But by the time they released 2002’s follow-up, ‘Lovehatetragedy’, nu metal was in decline, and unfortunately so was the group’s popularity.

Which is a shame, because ‘Lovehatetragedy’ isn’t a bad album, but it’s a clear reflection of where the subgenre was headed. There’s just something about the record that doesn’t quite have the same punch as before. It’s like ‘Infest’ made a huge statement, and now they’re just coasting the waves. Perhaps all the lyrical themes were already passé, or the lack of rapping and more focus on radio-friendly rock took away some of the edge of what originally made the band stand out?

Still, for what it’s worth, this release has its merits. There’s some catchy, hook-laden tracks, and vocalist Jacoby Shaddix has improved as a singer, especially with more melodic-based vocal lines. There's some nice guitar work too, though metal fans quickly tired of nu metals repetitive, de-tuned riffs, I personally think there’s some nice, tight playing here. Songs like ‘Black Clouds’, ‘She Loves Me Not’, ‘Time and Time Again’, ‘Life is a Bullet’, ‘Born With Nothing, Die With Everything’ and ‘M-80 (Explosive Energy Movement)’ are all decent tracks that show that the subgenre still had lots of potential left, even in its dying days.

And while Papa Roach will never reach the same heights they did in 2000, this album shows that they’re actually not as bad as most people will make them out to be.

Presenting, in Living Colour, these funk metal forerunners from New York City! Living Colour has been shaping up the funk metal scene since their 1988 debut album Vivid that includes their Grammy-winning hit, political anthem "Cult of Personality". In the years that followed, even more exposure was inevitable thanks to their more popular tour-mates Guns N' Roses and The Rolling Stones, as well as participating in the Lollapalooza tour on its very first year, 1991.

So what's next? Well, bassist Muzz Skillings left the group before they could start recording their 3rd album Stain. His replacement Doug Wimbish has been known for working with popular musicians like Madonna and Mick Jagger. Bad Brains producer Ron Germain helped show the band's dark heavy side while suitable for the mainstream.

The antiliberal opening track "Go Away" is a crushing start to the album. "Ignorance is Bliss" continues the political pessimism. "Leave It Alone" is a more melodic highlight. Another cool mainstream song is "Bi". Despite not getting enough attention or longevity in their career, great songs like this should never be ignored. It's an interesting song detailing the ongoing dilemma of people's sexuality ("Everybody's messed up with their sexuality") and can motivate certain people to overcome that dilemma and be proud of themselves and their community, maybe even certain characters from children's shows that have expanded the LGBT boundaries. But it might also cause some massive debate about whether this is pro- or anti-LGBT. Quite a tough call. Let's move on...

"Mind Your Own Business" takes some influence from their aforementioned tour-mates, and is not really my business. Then "Auslander" explodes into one of my favorite songs here. "Never Satisfied" is satisfying but can't beat the greater highlights. Another one of them being "Nothingness", which is a ballad-ish funk rock track with ambient symphonic synths, but I can certainly understand how destined it was to be a hit. After that, "Postman" packs a killer punch as the lyrics describe a vicious murderer. Living Colour can certainly take a death metal lyrical concept and twist it up in their usual funk/alt-metal/rock.

The problems this album has that make me think "WT*!?" are exemplified in the weird experimental "WTFF" (the second F stands for "Factor"). Really messing things up is "This Little Pig". Then "Hemp" is a f***ing pointless interlude. Fortunately, "Wall" closes the album by showing you all how this funky sound should really be done. As much as I enjoy Revolution bands from the electronicore of Enter Shikari to the mathcore of The Tony Danza Tapdance Extravaganza, I'm up for a bit of funky alt-metal once in a while.

Stain is a decent funky album with a few standouts, a few mess-ups, and a few in-betweens. Despite its success, the album ceased printing for 20 years due to a lawsuit from the band The Stain, and Living Colour split up due to creative differences. It won't be until a decade after Stain's release when their next offering would occur....

Favorites: "Leave It Alone", "Bi", "Auslander", "Nothingness", "Postman", "Wall"

While it's probably worth mentioning from the start that New York's Living Colour have never really fit within the stringent criteria required to enter my personal taste profile, I've always had an appreciation for what they do, particularly during their late 80's & early 90's heyday which is where my knowledge of them ends. I was first introduced to Living Colour through their super-popular smash hit "Cult of Personality" which I discovered on a compilation album shortly after its release back in 1988 & it would lead me to progressively pick up dubbed copies of their first three full-lengths as they hit the market, all of which offered me similar levels of entertainment even if I never considered any of them to be essential. Interestingly though, I never considered Living Colour to be a metal band during their earlier days with their 1988 debut album "Vivid" being more of a funky hard rock record. The links to metal grew off the back of 1990's "Time's Up" record which I regard as one of the extremely rare examples of a true "funk metal" release with the vast majority of other records being tagged as such failing to convince me of their eligibility for the niche subgenre. I always thought of 1993's "Stain" as being Living Colour's strongest work to the time but I haven't heard it since my last year of high school in 1993 though so I'm here to confirm or deny that allegation today.

One thing's for certain & that's that "Stain" was Living Colour's most consistent & most mature record to the time. Where both "Vivid" & "Time's Up" contained a few obviously weaker tracks to balance out the inclusion of their hugely successful singles, "Stain" possesses neither trait, instead offing a solid set of thirteen tracks that never disappoint but rarely amaze. The fact that it rarely leaves me cringing is a big plus though, as is the wonderful contribution of guitarist Vernon Reid who I feel delivers one of his most compelling performances here with his jazz fusion inspired & whacked out solos being thoroughly captivating. New bass player Doug Wimbish also proves himself to be a true star of his chosen craft with a powerful & invariably impressive array of basslines that anchor the songs beautifully. One thing I do think is worth noting though is that this material is not nearly as funky as it's made out to be so the links to funk metal are misguided. "Stain" is much more of a blend of alternative metal & hard rock for mine with only closer "Wall" fitting the bill for funk metal so I'd encourage all members of The Gateway to down-vote Funk Metal & up-vote Alternative Metal on the Metal Academy release page.

As to be expected with a Living Colour record, the tracklisting offers plenty of variety with regular change-up songs being included in order to keep things interesting & showcase the talented musicians' flexibility. My favourites are the synth-driven art rock piece "Nothingness". the experimental/avant-garde hip hop number "WTFF" & the afore-mentioning "Wall" which I think was a great way to close out the album. The quirky ode to bisexuality "Bi" is the most obviously commercialized inclusion while "Hemp" even sees Living Colour attempting a deep ambient sound. There are a number of hard rock-based tracks that will no doubt have fit very comfortably into US commercial rock radio programming at the time but they all maintain a reasonable level of integrity & quality.

After a few active listens on my commute to work & back this week, I'm gonna have to suggest that my position on "Stain" hasn't changed much. Perhaps Reid's contribution may be slanting me in this direction given my obvious penchant for high-end guitar playing but I still think that "Stain" was Living Colour's best album to the time. I've certainly confirmed my suspicion that it was their most mature & consistent one. Perhaps I just enjoy an alternative metal sound more than a funk metal one or a funky hard rock one but I tend to think there's a little more to it than that & feel that "Stain" has been a little hard done by due to the lack of hit singles it contains. If you're a fan of "Vivid" or "Time's Up" or similar bands like Extreme, Electric Boys or Ugly Kid Joe then I'm willing to bet you'll enjoy "Stain" too.

Since 2017's Mesmer, Northlane has travelled through the alt-metal realm with gradually withering emphasis on their metalcore roots and taking on cyber/industrial metal territory in albums Alien and Obsidian. At the point of this EP, Mirror's Edge, Northlane can be considered more of an alt-metal band with some of their mid-2010s djent, and that's an accurate description for the EP, and then some...

The band went to Victoria’s Yarra Valley to find some creative inspiration and overcome their struggles. It is quite a journey to add more to their stylistic journey! The EP has new elements to go with what they've done earlier, to please fans old and new.

The title intro builds up in synths to lead into the oncoming action of the next track. "Afterimage" is filled with variety, helped out by guest singing from Ian Kenny (Karnivool). That gives the track a more rock-ish vibe while still unleashing the usual heavy attack. "Miasma" has that Obsidian-like blend of electronics and metal, along with another guest vocalist, Parkway Drive's Winston McCall with his own destructive breakdown. "Let Me Disappear" lets rip more of the modern metal greatness. Former bassist and Structures guitarist/vocalist screams his way through the synth-powered "Kraft". Finally, "Dante" has broader electronics while letting it all flow well.

All in all, Mirror's Edge has some amazing fun that can give new fans a nice treat and longtime fans what they want to hear. This is high-quality usage of electronics and metal together. The guest vocalists are quite helpful with the EP's variety. This might be the beginning of the band's next generation!

Favorites: "Afterimage", "Miasma", "Let Me Disappear"

My initial experiences with California's Rollins Band came through late-night metal radio programming shortly after the release of their 1992 third album "The End of Silence" with songs like "Low Self Opinion", "Tearing" & "You Didn't Need" receiving regular air-time for a good few months there. I remember being struck by just how visceral & aggressive the vocal attack of former Black Flag front man Henry Rollins was & also found myself being impressed by the technical capabilities & general heaviness of his three accompanying musicians. I'd subsequently go about the task of securing myself a dubbed cassette copy of the album from a school mate & would find that the deeper cuts on the album would offer me even more appeal, so much so that I'd find myself obsessing over the album & developing somewhat of a man crush on Henry which would only be exacerbated by my experiences at my first Rollins Band live show at Manly Youth Centre shortly afterwards. As good as Rollins Band may be on record, I can assure you that they went to another level altogether in a live environment with Henry performing in just a little pair of black shorts with his ripped physique & incredible intensity being something that I hadn't experienced before or since. I spent a good portion of their set stage-diving into the swarming mass of euphoric youth in front of the stage but, unfortunately for me, towards the end of the show that swirling sea of testosterone would part just as I dived from the stage which would see me landing very heavily on the hard concrete floor with my arm left feeling that I may have broken it, a fact that was not lost on Henry. After the end of the final song, he would go out of his way to find me & we'd have a discussion that would end with me buying him a drink. I'll never forget how intense & intimidating he was yet he also put me at ease with his confidence & humility. He rejected my offer of an alcoholic beverage & told me that he didn't touch drugs or alcohol. In fact, I think he was already a vegan at the time & his ripped body was clearly his temple. He told me that he couldn't understand why a good-looking young dude like myself would bother to come & see his little band play when he would have been out chasing tail if he was in my shoes & we shared a laugh. It was an experience that I'll never forget & I still hold a great deal of admiration for Henry & enjoy listening to his stories through his spoken-word performances to this day. As for Rollins Band, I'd follow them into their 1994 fourth album "Weight" which was also very strong & would see me once again attending the supporting tour but we'd part ways after that & I haven't heard any of the four records that followed.

"The End of Silence" is a huge record in many ways. It's class & consistency is impeccable with none of the ten tracks ever hinting at being filler. The production is thick & heavy with each of the band members proving themselves to be masters of their chosen instruments, coming together to create some of the tightest grooves you'll find. Despite that though, I'd suggest that Rollins Band's metal credentials weren't all that straight forward as they brought together a number of different sounds but presented the sum of their influences in such a professional & full-realised packaging that it pretty much becomes irrelevant as to what genre they should rightfully sit under. If I had to describe the sound of "The End of Silence" though, I'd suggest that they bring together the post-hardcore edge of Helmet, the doomy alternative metal of Soundgarden & the stoner rock grooves of Queens Of The Stone Age with an undeniable Black Sabbath influence &, even if that may not amount to a metal record overall, I'm not gonna argue the point because it's really a moot point in the grand scheme of things as there's no doubt that fans of alternative metal will dig "The End of Silence".

The tracklisting begins in very solid fashion with the three big singles all sitting within the first four songs. Little will your average alternative radio-listener know that the real gold is still ahead of them though as Rollins Band were at their best when they went in more expansive directions with the longer tracks allowing them the freedom to fully flex their undeniably impressive muscles. The brilliant twelve minute "Blues Jam" has always been the centrepiece for me personally & it still feels like the perfect representation of what the band were trying to achieve to this day but it's closely followed by "Almost Real" & "What Do You Do" which were both clear anthems for my youth too. While the more up-tempo inclusions like "Tearing" & "Another Life" may seem to be a little less significant than the more drawn-out material, repeat listens see them opening up & digging their teeth in quite deeply which sees the depth in the tracklisting solidifying into an impressive wall of sonic expression.

It surprises me that "The End of Silence" isn't more highly praised to be honest as time has seen it losing none of its impact. The ambiguous nature of its sound also sees it presenting a significant amount of crossover appeal too as it offers just as much to the alternative rock radio audience as it does to the metal scene. The passion that Henry puts into his music is never in doubt but he's definitely challenged for the spotlight by the wonderful bass guitar performance of Jello Biafra, Pigface & Ween bassist Andrew Weiss whose gut-tearing wah-pedal-infused basslines play as major a part in the overall impact of "The End of Silence" as Henry's vocals do. This is rock music at its most potent & visceral & it acts as a reminder of what rock & roll formerly aspired to be but so rarely ends up being in 2024. I'd suggest that "The End of Silence" should be essential listening for all members of The Gateway.

In 1986, punk legends Black Flag split up. Less than a year later, former vocalist Henry Rollins formed a new band, Rollins Band. After two post-hardcore albums, he decided to turn their sound into a progressive form of alternative metal in the 3rd album...

1992's The End of Silence showed a new era for the band since getting signed to Imago Records. Prolific producer Andy Wallace helped bring life to the production and gave Rollins' vocals a chance to be in front of the line of the compact sound. His once-punk-filled audience has expanded to more than just that. The album attacks with his well-focused writing that would make anyone outside the Black Flag fanbase want more.

First track and single "Low Self Opinion" has the menacing vocals of Rollins as he sings his vicious lyrics. All that continues on in the next song "Grip". Then "Tearing" is another excellent single. It has caused Rollins' work to spread to MTV and metalheads. I didn't need "You Didn't Need", which sounds closer to the earlier punk of Black Flag.

Then the band switches gears to a more progressive sound with "Almost Real". They switch back and forth between the slow march of Godflesh and the mid-tempo pace that Mushroomhead would later have, while obviously not having any of those bands' industrial aspects. "Obscene" has a little more progressiveness, and I guess that's part of the spark needed for later progressive bands like Sikth. "What Do You Do" is another long track, but shorter than the previous two, lasting 7 and a half minutes, and it has really foreshadowed many bands and artists imitating the instrumentation and vocals.

"Blues Jam" is right in the name, a 12-minute blues jam. However, that's way too long and improvisational. Rollins' vocals seem to flop a bit, but the soloing by Chris Haskett work well as the best part of the track along with the doomy atmosphere. Literally the Black Sabbath "Warning" of this album. "Another Life" rocks out as another alt-metal piece. The closing epic "Just Like You" hits hard and progressive for 10 minutes, leading up to a final slow chant of "RAGE!... RAGE!... RAGE!... RAGE!..."

The former vocalist of Black Flag, Henry Rollins made a solid alt-/prog metal album with his band. The End of Silence opened the gates for metalheads and alt-fans to explore the music created by this talented man from the 80s punk scene....

Favorites: "Low Self Opinion", "Tearing", "Almost Real", "What Do You Do", "Just Like You"

Bad Omens' second album Finding God Before God Finds Me is a perfect example of modern alt-metal with elements of the metalcore from their 2016 debut. We have come to their 3rd album The Death of Peace of Mind where they continue their alt-metal path with more electronic influences then before. This shall be a solid ride! Just tell the naked cover model that what she's doing can't be good for her back.

The ambitious sound will surely win some fans in the rock/metal realms in The Death of Peace of Mind. They even got a surge of popularity from one of their songs being used a lot in TikTok, probably as much as Lorna Shore's "To the Hellfire".

Synth-filled atmosphere opens "Concrete Jungle" that leads into a breakdown where the nu metal of early Linkin Park and the metalcore of Polaris collide. This vibrant mix of influences works in great shape. "Nowhere to Go" has a faster tempo, but Noah Sebastian's vocals remain soft yet widely-ranged. It starts as a hard rocker before exploding into their earlier metalcore again. The electronic-infused chorus in "Take Me First" and its clean vocals take the band's sound closer to Bring Me the Horizon, which isn't unusual. A little disappointing, but still OK. I'd like to talk about the interesting title track which begins with soft electronic atmosphere before the guitar riffing starts rising in heaviness, leading up to a furious breakdown to complete the transformation. "What It Cost" is a short electronic chill-break.

"Like a Villain" is the album's first single in which all the earlier elements come together. There's no denying how anthemic that track is with its catchy chorus and a metallic take on the alt-rock sound of Amo-era BMTH. This song WILL infect your mind! "Bad Decisions" departs from the band's metalcore roots much further with nothing but clean vocals and atmospheric synths. It's actually where Noah Sebastian performs some of his best, most widely-ranged vocals yet. "Just Pretend" starts slow, but when the drums and guitars kick in, Noah lets out all of his vocal emotion. The heavier action will keep you on your seat. As amazing as that song is, I'm both surprised and not about this song's presence in TikTok boosting the band's fame. Another song worth mentioning is "The Grey", heavy while relying on electronics. The insane bridge after the chorus shall reside in your mind. But then things take a bit of a downturn in "Who Are You?"

"Somebody Else" is a bit forgettable while not affecting the album's high rating. "IDWT$" is fine, but it's basically BMTH plagiarism. "What Do You Want From Me?" has a bit of heavier potential, but the synthwave-like beats don't really light up my heart. The greater side of the album returns in "Artificial Suicide" that attacks with a Mick Gordon-esque storm of electronics and guitars, staying strong alongside experimental ambience. The final track "Miracle" takes on the last bit of Amo-era BMTH in the glitchy synths. Then Sebastian screams his way into a climatic breakdown to show that they still have their metalcore roots.

In the end, you have quite a packed experience that can work well in live performances for many of its songs. Bad Omens continues to bring their career to a more global light as they create music for the modern metal masses!

Favorites: "Concrete Jungle", "The Death of Peace of Mind", "Like a Villain", "Bad Decisions", "Just Pretend", "Artificial Suicide", "Miracle"

I have a lot to find in modern metal. I have my own journey of discovering as many modern metal as I can to expand my collection. They started off with more of a metalcore sound in their solid 2016 debut while adding in their later fantastic alt-metal sound. Having been signed to Sumerian Records and going on different tours and shows, no wonder they're able to mark their modern metal territory. And their second album continues to seal that deal!

Finding God Before God Finds Me came out in 2019 and fans were prepared for the question, is there hope? Well, the Bring Me the Horizon vibes are more prominent, and while many listeners were turned off, it made things much better for me.

"Kingdom of Cards" practically starts where the previous album ended with "The Fountain". There isn't any thunderous metal riffing, but it shines with anthemic beauty, a bit like early 2010s Linkin Park but greater (no disrespect to Chester Bennington, RIP). It is a pleasant start to the journey, and I enjoy the vocals by Noah Sebastian. "Running in Circles" is quite great, but while it's not weak in any way, it's my least favorite track here. The BMTH influences are so apparent, that it sounds like an outtake from Sempiternal. Not a totally bad things, but other listeners may digress. "Careful What You Wish For" is the album's first single, released a year prior. That well-thought track is worth every penny! "The Hell I Overcame" follows as another good track. It brings back the heaviness of their debut with natural vocals and production.

Surprising you hard is "Dethrone", the heaviest track in the album. In contrast to the clean soft tracks, that one has Emmure-like moshing moments to make it clear that Bad Omens can be considered metal. "Blood" is another heavy hitter, with less focus on clean singing, unless you count the deep viking-like chanting, "IT'S IN OUR BLOOD!" The powerful strength for their more brutal side is really prevailing. Then as you can hear in "Mercy", everything calms down again for something similar to BMTH's softer tracks.

"Said & Done" is where the band continues to evolve. It's more of a melodic rocker with sweet soloing. The vocals again show some similarity to Bring Me the Horizon, while both stand far away from each other in each side of the unburned bridge. "Burning Out" is a true hit. The vocal melodies are totally worth singing along to. "If I'm There" has sweet uplifting melody to end this 10-track adventure. Well, 13 tracks if you count the deluxe reissue, but those bonus tracks aren't as strong and perfect as the original album, except their wonderful cover of Duran Duran's "Come Undone".

Bad Omens has brought on a lot more of a fresh alt-metal sound to go with some of their earlier metalcore. While their debut has powerful songs, Finding God Before God Finds Me has more complete maturity with true gems all over. They shall keep moving forward!

Favorites: "Kingdom of Cards", "Careful What You Wish For", "Dethrone", "Blood", "Burning Out", "Come Undone" (Duran Duran cover, bonus track)

Genitorturers is a band I never thought would intrigue me, considering their notorious BDSM themes in the music and shows. However, their 90s material is actually worth enjoying and listening to, at least remotely. But how does their comeback album Blackheart Revolution work out? Not quite as well...

I shouldn't be too surprised. After all, they were trying to restore their earlier provocative imagery, but it was a sign that they needed to move on with the times. Their dance-y industrial/alt-metal sound does not have the same spark in the 2000s as it had in the 90s. Around that time, people had already moved from the latex and leather aesthetic, and the only people to still get their ideas were the band's die-hard fans.

"Revolution" starts the album with some rock crunch, but the depth just isn't the same as it was in their earlier material. The next track "Kabangin' All Night" isn't too bad, but it has too much of a rockabilly sound. "Devil in a Bottle" totally rocks out with its Rob Zombie vibe and makes up a lot for the album's earlier fails.

"Louder" is a KISS-like rock-out anthem to get you pumped. I enjoy the nice soloing there. Then we have another nice alt-ish anthem in "Falling Stars" that's more melodic while still heavy. The guitar distortion of their 90s material is blended with an old-school rhythm that can easily be tapped by tambourine. "Take It" has some more of the catchy heavy rock melody that has made a little optimistic about where this album might lead. Unfortunately, the next track "Confessions of a Blackheart" goes to back to the album's lower quality, trying its hardest to show Gen's spooky persona but ends up falling flat.

I don't wanna talk much about "C*m Junkie", which is just a techno-pop sh*tter. They were so much better than that! However, "Vampire Lover" restores the album's earlier greatness with the best Gen's gothic vocals. "Tell Me" is another perfect rocker that I think any rock/metal fan should at least try. iTunes bonus track "2 Faced Traitor" is rather pointless, being another dance track that's 4 minute long, followed by 6 minutes of silence.

All in all, the stylistic tendencies of Genitorturers were not fully fulfilled in Blackheart Revolution. Having not grown well and losing some relevance in their sound, this is only for the true longtime fans of this band. The new fans would wonder where the band's spark has gone....

Favorites: "Devil in a Bottle", "Falling Stars", "Take It", "Vampire Lover", "Tell Me"

While I was the source for Ben picking up so many of the extreme metal game-changers that would stay with us for most of our lives, he would also open my eyes to exciting new bands at times too with bizarre Californian outfit Mr. Bungle being one of the more significant of them. Faith No More was a REALLY big band for Ben & his best mate Matt during the early 1990's with Mike Patton becoming nothing short of an obsession for Matt so I think it might have been him that initially brought Mr. Bungle's self-titled debut album to our attention before Ben purchased the CD. While I also loved me some Faith No More, Mr. Bungle sounded like none of my business on paper. I mean it's quirky, it's funky & it's consciously weird, none of which are characteristics I would usually be open to in my metal. But that's the true genius in this artist really i.e. the ability to do something so unusual but still achieve timeless hooks & eternal laughs that manage to immediately recall a time in my life with an effortless ease that few acts can achieve. It's been a while since I've revisited "Mr. Bungle" though & I really didn't have any idea how I might end up rating it in the modern day so it was with much anticipation that I pressed play on my long drive into work this week. What I found was that my passion for Mr. Bungle's freakish circus sideshow took very little time to rekindle too.

"Mr. Bungle" is very much a mishmash of disparate genres & ideas that somehow manages to sound cohesive & vital. Other websites will tell you that it's a blend of experimental rock, avant-garde metal & funk metal but I don't think that's quite right. I mean, there's very little actual rock on this album so calling it experimental rock is a little misleading in my opinion. There's certainly a lot more metal than there is rock here but even metal is just one of many tools that are used within a wider range of sounds & styles that include funk, ska, experimental, psychedelia, deep jazz, field recordings, circus-themed music & an array of other subgenres. Still... I think there's enough metal on offer to warrant the avant-garde metal tag given that metal provides somewhat of a platform for which to present the other quirkier sounds. Funk metal is a little bit more of a stretch in my opinion though as the funk & the metal rarely appear together & there's a lot more to "Mr. Bungle" than just funk. Regardless of these concerns, it's fair to say that "Mr. Bungle" sounds like nothing you've ever heard before so traditional tags are ineffective in preparing you for what's in store for you anyway.

The hero of the day is certainly Faith No More/Dead Cross/Fantômas front man Mike Patton as this record provides him with the ultimate showcase for his extraordinarily wide range of psychotic vocal techniques & noises. In fact, I find it entirely captivating to simply follow him through the record & observe just how fucking nuts he can be. Anyone that hasn't heard the extended "No Place Like Home" section on "Egg" or the "Redundant" part of "My Ass Is on Fire" really owe it to themselves to experience it & I challenge you to not let out at least the odd giggle (if not uncontrollable laughter) which is really saying something all these years later. Mr. Bungle are a seriously talents group of musicians too though & the way they manage to bring all of the whacked-out insanity together as a cohesive whole is really quite something. I tend to love the opposite extremes the most with the deeper psychedelic moments & the heavier metallic sections giving me the most joy but there's not a weak track to be found amongst the ten on offer with opener "Quote Unquote" & the previously mentioned "My Ass Is on Fire" both playing pivotal roles in my youth. Fantômas bassist Trevor Dunn's contribution is worth mentioning as he shows himself to possess some pretty impressive chops with some of the funky bass lines he manages to pull off. The way that Faith No More/Asva/Faxed Head guitarist Trey Spruance manages to swap from the funkiest of clean ska or funk riff to the heaviest of metal dirge is quite an eye opener too.

"Mr. Bungle" is certainly not the sort of thing that you'll find me listening to all that often as I tend to take my metal music pretty seriously at times but it's refreshing to take a musical u-turn like this every now & then, particularly when it summons up so many memories of Ben & I rolling on his bedroom floor laughing until tears streamed down our faces. Mr. Bungle serve a very clear purpose in reminding me that I don't have to be quite so intense all the time &, for that reason alone, I think everyone should experience their debut at some point in their lives, particularly where weed is involved. Fans of the more avant-garde end of metal will almost inevitably see the genius in this record while those with a strong penchant for artists like Fantômas, Buckethead & Diablo Swing Orchestra may just rank it amongst their more elite releases of the time.

System of a Down were one of the first Metal bands I really got into, and as such they were a pretty influential act for me. Even at the time, I never worshipped them or anything, but I did find them to be pretty great with some absolutely stellar songs. As I’ve matured, I find myself listening to the self-titled debut all the way through for the first time in… God, maybe 10 years? And it’s really not aged well. It’s still got two fantastic songs on it, but there is sooo much filler. Not to mention, it gets substantially weaker near the end.

The album is lacking in just about every department except for creativity and uniqueness. Riffs are simple and forgettable, with few leads at all, mostly relying on standard rhythm guitarwork. System of a Down have an amazing rhythm section in both Shavo and Dolyman, each having a very unique style that get tons of focus. Except, here, they didn’t have that style yet. They just sounded like run of the mill rhythm musicians.

The album feels way too long, but it’s only 40 minutes. No doubt thanks to most of the 13 tracks being unmemorable, outstaying their welcome and meandering nowhere. Some of the lyrics are alright, but there’s also a lot of cryptic word-salad and goofiness (not that they ever outgrew that).

Overall, it’s just not a great record. It’s fine. But the years have not been kind to it in my ears. I feel like this one gets way too much credit just because of the band’s legacy and because it’s “quirky.”

San Francisco alternative metallers Faith No More played a really big role in the teenage lives of both Ben & I. I first became acquainted with their 1989 third album "The Real Thing" when my best mate at high school purchased it off the back of the outstanding "Epic" single & both of us would soon find ourselves indulging in Faith No More's short discography over the coming months. "The Real Thing" would go on to not only maintain its position as my favourite Faith No More release to this day but also to challenge Alice In Chains' superb "Dirt" album for top honors in the field of alternative metal overall. The acquisition of talented front man Mike Patton had proved to be a masterstroke as he clearly gave them the greater level of accessibility they were searching for after struggling to connect with a wider audience due to the inconsistencies of former singer Chuck Mosley. The band's 1985 debut album "We Care A Lot" was a wishy-washy affair that I found myself struggling with but I have to admit to having a significant soft spot for their 1987 sophomore album "Introduce Yourself" which ended up being an acquired taste, buoyed by the arrival of iconic guitarist Jim Martin. The "Live at Brixton Academy" live album was a bit of a strange decision when you consider that Faith No More had only just cemented their classic lineup & broken through in the commercial market but it's perhaps not surprising that their management would be looking to capitalize on their newly found success while they waited for the next proper full-length to eventuate.

"Live at Brixton Academy" is very much a showcase of the strengths of "The Real Thing" as an album with only one of the eight live cuts being taken from the Chuck Mosely records but even then we find Faith No More's early anthem "We Care A Lot" sounding better for the charm & charisma of Patton. The rest of the live material is composed of the stronger cuts from "The Real Thing" as well as versions of the two CD-only tracks in Black Sabbath cover version "War Pigs" & piano rock crooner "Edge of the World". The tracklisting is closed out by two studio B-sides from the recording sessions for "The Real Thing" in Jim Martin's fairly disposable bluegrass instrumental "The Grade" & the very solid alternative metal number "The Cowboy Song" which was a welcome addition that may make the release a touch more worthwhile for those that find a live album of this type to be a little self-indulgent. And let's be honest, it IS a bit self-indulgent to think that a live release was necessary when you plan to draw the bulk of the material from the one studio record.

The elephant in the room here is certainly the production job though as it's fair to say that it's not terribly amazing. In fact, it's not all that far above bootleg quality if we're gonna get serious about it with Martin's guitars being noticeably absent in the mix which isn't the greatest attribute for someone like myself whose prime attraction to Faith No More stems from Martin's contributions. Thankfully though, the material is just so fucking strong that "Live at Brixton Academy" still manages to overcome its technical deficiencies to remind me of just how much I love this band. They really are a collection of super-talented individuals in their elected fields & when they come together creatively they possess the ability to write some of the most enthralling & inspired metal music you'll find. The title track from "The Real Thing" is a prime example of that as it easily overcomes the production issues to cement itself as the highlight of the album which is no mean feat given the challenges put forward by classic songs like "From Out Of Nowhere", "We Care A Lot" & "Zombie Eaters". The imperious "Epic" & the ever-popular "Falling To Pieces" aren't quite as effective as some of the deeper cuts to be honest but that's really a reflection of the quality on offer more than anything else.

The previously mentioned "The Grade" is the only creative misstep on "Live at Brixton Academy" which represents somewhat of a flexing of Faith No More's muscles as a formidable musical force although I do have to question the decision to close out the live set with "Edge of the World" which was never one of the band's stronger works & allows the energy levels to drop a bit. I'm not gonna lie & tell you that the production issues don't bother me because they do but they don't stop me from becoming emotionally involved with the music either. How much of this is due to nostalgia is difficult to pinpoint but that's not really important because a rating should be a reflection of one's personal connection with a release & there's very little doubt that I connect with this one. Perhaps "Live at Brixton Academy" is not an essential release for every member of The Gateway but it is one for me & I can't deny the buzz that these ol' bangers still provide me with.

Sum 41... One of the more popular punk bands... In Metal Academy?!? Who would've thought that was coming?! Well they have announced their intentions in spicing up their punk sound in metal, and 13 Voices has it all clear! Their upcoming final album Heaven :x: Hell will balance out their sides of the sound with their pop punk Heaven and metal Hell. The band will retire after a final tour, which almost didn't happen when frontman Deryck Whibley suffered from COVID-related heart failure and subsequently recovered.

Whibley is no stranger to almost reaching Death's door. While in the pre-production stage for this album, he nearly lost his life to liver and kidney failure caused by excessive drinking, ending up in a coma. That really caused his ability to walk and play guitar to take a toll, but he slowly regained those abilities. It was a fall and rise documented in 13 Voices, a comeback album of bleak intensity. If people thought 2004's Chuck was the heaviest the band has gone, the full power of 13 Voices is here to prove them wrong. Whibley, guitarists Dave Baksh and Tom Thacker, bassist Jason McCaslin, and drummer Frank Zummo shall take you on a rollercoaster ride of punk gone alt-metal!

Beginning this offering is the grim "A Murder of Crows", with slow dark punk similar to AFI. The political cynicism fits well for the bleakness of our world. Desperate anger sears through the fantastic "G****mn I'm Dead Again". I saw the music video for this on MTV and it adds to the killer power of the song. My own scenario for this would be an epic battle between punks and metalheads in a mosh pit as the band performs, especially during a whole minute of Bullet for My Valentine gone DragonForce guitar soloing. And there's more of their metal side to come... "Fake My Own Death" has more of the blazing heaviness mixed with beautiful emotion. Other new elements here include symphonic strings in "Breaking the Chain", another true anthem. Fans of the band's earlier punk sound can get a kick out of "There Will Be Blood".

The title track also stands out for fans of their earlier work, albeit their heavier side in Chuck. Yearning for emotion is "War", reaching for anthemic heights as Whibley details his sober fight for his life, and encouraging others having a similar problem to know they're not alone. Next up, "God Save Us All (Death to POP)" adds more atmosphere. Same with "The Fall and the Rise", which you know is about if you know the life-threatening sh*t Whibley went through. "Twisted by Design" is the band's longest song and their only one to surpass 5 minutes. The blend of punk and emotion is something already experienced in Linkin Park's The Hunting Party. Beautiful!

The deluxe edition comes with a few bonus tracks, starting with the short "Better Days". Then "Black Eyes" makes up for some of the losses in the album's quality. I never said the album is perfect, despite having many great tracks, but those two tracks could've actually made it better because of how great they are. Of course, I wouldn't say the same for the acoustic versions of "War" and "Breaking the Chain", which are OK but don't have the anthemic magic of the originals.

It seems like the band can really mix gloom, fun, and chaos in their metal-punk arsenal in 13 Voices. Whibley's battle to save his life has resulted in this album hitting hard with a lot of the drama and sincerity there is to offer....

Favorites: "G****mn I'm Dead Again", "Breaking the Chain", "13 Voices", "War", "Twisted by Design", "Better Days", "Black Eyes"

A simple interesting experiment can sometimes lead to great success. Indian nu/rap metal band Bloodywood started as a cover band performing Bollywood hits. Then when Linkin Park released their first single from their pop-rock final album One More Light, "Heavy", the negativity that single received inspired Bloodywood to make a metal cover of it, considered "what Linkin Park's Heavy should have sounded like". Spawning international popularity as a result, Bloodywood recorded some more covers for their first release Anti-Pop Vol. 1. Fast forward 5 years, the band made their first original album Rakshak, a wild blend of revived nu metal with Indian classical music.

Anyone can appreciate any band by going to their live shows, but I can appreciate them as well at home by experiencing the full beauty of their music from the original studio recording. Rakshak certainly grants me that magic. Their formula of heavy groove-ish nu metal can entertain you when they add in their native influences. So if there's ever a Bollywood movie centered around a metal band, you know what you might expect in its soundtrack!

Feast your ears on the explosive "Gaddaar" (Traitor), a 5-minute metal monster of riffing and percussion worth partying to. The dynamic impact will bring life to the crowd in concerts, especially in breakdowns. "Aaj" (Today) follows with some EDM-gone-metal similar to Korn's The Path of Totality, albeit with mystical Indian flutes and more poppy hooks. There's no doubt at all that you'll enjoy "Zanjeero Se" (These Chains) and its Linkin Park-like emotion to break away from their more hardcore side occurring later on... The ravaging "Machi Bhasad" (Expect a Riot) is my favorite here. A friend of mine showed me that song, which got me into checking this album out. I gotta thank him for that!

"Dana Dan" (Give a Beatdown) takes on rap metal's earlier days with a modern technical spin. The band shall not be responsible for anyone getting injured when playing this song in live shows. Having a more traditional melody, "Jee Veerey" (Live Brave One) knocks off the heaviness a bit. Though they bring it back in the anthemic "Endurant".

"BSDK.exe" has more of a slam-deathcore vibe blended with trap beats that turns this party demonic. "Yaad" (In Memory) bites down with excellent emotion, though they're kind of behind on the punch some of the other songs have. Saving the album's grace is the noisy closing track "Chakh Le" (Rise Up). Once again, the modern metal revolution has allowed those Bollywood elements up in the front.

Although Alien Weaponry is my go-to band for blending modern metal with native influences, Bloodywood has displayed their own Indian nu/rap metal sound that shall make great history in the metal community. So how about that? Add your country's sounds to metal and watch the magic happen....

Favorites: "Gaddaar", "Zanjeero Se", "Machi Bhasad", "Endurant", "Chakh Le"

It’s crazy to think that somehow this album would spurn an upwards momentum that would lead Limp Bizkit to, at one point, being the biggest band on the planet. Released in 1997, ‘Three Dollar Bill Y’all$’ is the debut album of the Florida-based nu metal outfit. They weren’t the first band to fuse rock and rap, in fact, bands like Stuck Mojo, Body Count, H-Blockx and Clawfinger and countless others were already worldwide names by this point. But for some reason, ‘Three Dollar…’ was one of the earlier albums that helped usher nu metal into the mainstream. I just can’t see what people saw in it!

Now, I should point out, I’m not a Limp Bizkit hater. In fact, I really like them! They’ve released some absolute bangers, and, let’s face it, was the soundtrack to my (and everyone else’s) teenage years at the turn of the century. But that still doesn’t explain to me what people back in 1997 saw in this album.

Overall, it’s very forgettable. The guitar riffs are quite messy, and Fred Durst’s blend of rapping, singing and shouting just aren’t really cutting it. At least not yet, anyway. Then there’s the cover of George Michael’s ‘Faith’ which was an early hit for the band, but again, does nothing for me. But if I had to pick, I guess ‘Pollution’, ‘Counterfeit’ and ‘Stuck’ are all okay.

But only okay. Nothing more.

It’s amazing that the band would go on to absolutely conquer the world, because if any bands released a debut this lacklustre and generic today, they’d be doomed. Still, the band are headed to bigger and better things, so skip this album and get the next one.

The late 80’s saw the metal world starting to experiment a little more than they had previously which was perhaps inevitable after the two most senior genres (i.e heavy metal & thrash metal) had already peaked. The incorporation of external influences was becoming quite common with artists repping everything from rap to classical to folk to surf rock. One of the more popular styles to dabble in was funk though with a number of acts reaching some level of commercial success sporting a funk-infused metal sound (Faith No More, Living Colour, Primus. etc.). None of those bands had taken things as far in terms of extremity as San Francisco’s Mordred did with the funk-driven thrash metal sound of their 1991 sophomore album “In This Life” though.

My earliest experiences with Mordred came through older school mates who supplied me with their 1989 debut full-length “Fool’s Game” which I quite liked. A dubbed copy of “In This Life” would enter my tape deck shortly afterwards & I found it’s stronger focus on the funk elements that had been hinted at on the debut to give it a slight edge. The production job is pretty weak with the guitars sounding noticeably thin but there’s enough creativity on offer to allow me to look past that obvious flaw. You see, this record really does achieve what it says on the tin in that it’s the perfect amalgamation of funk & thrash metal. It kinda sounds like a combination of the funk metal of Faith No More & Infectious Grooves & the Bay Area thrash of Death Angel & particularly Testament which is a prospect that certainly sounds interesting on paper, even if I do tend to like my thrash a little more on the pure side. There's some great musicianship on show on "In This Life" too. Front man Scott Holderby has an unusual voice for a thrash metal artist but I'm not sure he always nails it. He certainly tries to be as versatile as possible though. 

The tracklisting is pretty consistent with only the flat funk metal excursion “Esse Quam Videri” not reaching an acceptable level of quality. There’s a really strong stretch during the middle of the record that includes a quality acoustic interlude (i.e. “A Beginning”) followed by the two album highlights (alternative US power metal number “Falling Away” & funk thrasher “Killing Time”) but there aren’t really any classics here & the production issues do kinda limit the potential for me to consider my higher ratings too. Still… Mordred are a bit of an enigma in the thrash scene & should be respected for their ambition & creativity in a thrash scene that’s dominated by copy-cats.

The debut E.P. from this Californian band would see them set the world alight for a short period, primarily off the back of the massive hit single "Everything About You" which was played to death in my high school days. For that reason, "As Ugly As They Wanna Be" was never far from my ears as a teenager so when I noticed that it was on the Metal Academy database under "Funk Metal" I thought it might be fun to see how it's aged. I certainly didn't remember Ugly Kid Joe being a metal band per se so I was curious to see whether they might be yet another supposed "funk metal" band that would provide further proof for my existing opinion that the subgenre isn't really justified.

I was never a fan of Ugly Kid Joe if I'm being honest so I wasn't ever really expecting that I'd rediscover a long lost love for "As Ugly As They Wanna Be" & I'm glad that was the case because I found the first four tracks to be pretty flat, particularly "Everything About You" which I quickly discovered I harbor a burning hatred for these days. It's only the last three tracks that see my interest being peaked with the cover version of Black Sabbath's "Sweet Leaf" being the heaviest number & the clear highlight. Funk metal number "Funky Fresh Country Club" is also pretty entertaining, as is the frantic 25 seconds of speed metal closer "Heavy Metal". It's just a shame that the first half of the release was so uninteresting really as the tracklisting never manages to recover.

"As Ugly As They Wanna Be" is often tagged as a hard rock & funk metal hybrid although I beg to differ (I know... big surprise there). There's really aren't any tracks that I'd suggest allign with the classic hard rock model here. Instead, we see numbers like "Madman", "Too Bad" & "Everything About You" possessing a much sleazier & more poppy sound that directly aligns itself with 80's glam metal as far as I can see. There's just enough metal on show to qualify for the Academy too though in my opinion. I'm just not sure that there's enough "funk" metal as such with only "Whiplash Liquor" & "Funky Fresh Country Club" taking that direction. That leaves me in a quandry about what would be a better tag though as there isn't another metal subgenre that's better represented here so perhaps I should just let it go.

"As Ugly As They Wanna Be" isn't terrible but it's certainly pretty disposable & lacking in substance. There's no doubt the band can play & front man Whitfield Crane has a decent set of pipes on him but I can't say that I ever feel like this E.P. has the potential to command additional airings in the future. If you live for bands like Extreme, Electric Boys & Living Colour then you may disagree but I'm sure that there must be better material out there for you than this uninteresting record that's resigned itself to the annuls of history through a dated sound & a lack of focus & ambition. I'm afraid teenage girls have other things to listen to these days.

Limp Bizkit is a band that has gained quite some hate over the years. From their name, to their nu/rap metal/rock sound, to the scathing vocal anger of vocalist Fred Durst, to their live performances causing violence in crowds (one show causing the death of a teenage girl)... The band even covered a George Michael single as their entry into fame. Basically they're like an extra-cheese-coated biscuit, and I can bite down on that biscuit more than those who give up after a nibble.

Their debut Three Dollar Bill Y'all first came out as overlooked, but they entered the late 90s nu metal scene after touring with their earlier peers Korn and Deftones. As much as album #2 Significant Other may repel many music listeners, I actually find it pretty good. Almost like a Korn/Eminem collaboration but with more interesting creativity.

In the "Intro", a deep distorted voice says, "You wanted the worst, you got the worst: the one, the only, Limp Bizkit." Then "Just Like This" kicks off with the guitar attack of Wes Borland and the rapping of Fred Durst, alongside melodic groove and harmonic singing. This dynamic range can be listened to in cool excitement. Bouncing in is "Nookie", the album's first single, less mature but still catchy in the mix of beats, guitar, and turntables. Full-on haters can take their hate and stick it up their (yeah!). "It's just one of those days when you don't wanna wake up, everything is f***ed, everything sucks", raps Durst in "Break Stuff", an angry anthem that really shows how rap metal should be done. This song, and the rest of the album, is inspired by Durst ending a longtime relationship with a girlfriend, showing him taking his aggression out on his ex, "I pack a chainsaw, I'll skin your a** raw". A couple more things about that song: 1. It's notorious for being the cause of a violent revolution in Woodstock 1999 when Durst encouraged the crowd to not mellow out, which is "what Alanis Morissette had you motherf***ers do", and even telling them not to let anyone get hurt only caused them to get hurt in the chaos. 2. The song is my brother's new ringtone. Then we switch to the ballad-ish "Rearranged", which almost made me sleepy like a lullaby, but it's still a great highlight.

"I'm Broke" battles against "friends" who borrow money without paying back. "Nobody Like You" is filled with dark nu metal with guest vocals from Korn vocalist Jonathan Davis and Stone Temple Pilots vocalist Scott Weiland (RIP). Weiland sings his pained vocals while Davis creeps in, and the music has a bit of an industrial vibe from Nine Inch Nails. That definitely shows the better side of Limp Bizkit. "Don't Go Off Wandering" seems to wander off a bit despite continuing the darkness and heaviness. "9 Teen 90 Nine" is another killer track, reminding me of the album's release year and my birthyear. Another one of the best here is surprisingly "N2gether Now", a more hip-hop-fueled track. I find the "Shut the f*** up" loop over the harp amusing, and Method Man's rapping is nice and smooth, "It ain't easy being greezy in a world full of cleanliness".

Hypocrisy of "friends" is what "Trust" warns you about. The weird "No Sex", featuring Aaron Lewis of Staind, shows Durst confessing his recreational sex past that he felt ashamed of, "Shoulda left my pants on this time, but instead you had to let me dive right in". After that, "Show Me What You Got" is just a lame attempt at thanking cities, bands, and fans in a rap metal song. "A Lesson Learned" doesn't bring back much metal, but it really strikes me well with its emotion. The "Outro" is just a pointless extension of the intro. The hidden tracks featuring Matt Pinfield and Primus' Les Claypool are a bit interesting, especially the former's ironic rant against chart-toppers.

Significant Other is a bit problematic towards the end, so I can understand the hate. But as obnoxious as this band may seem, some of their rap metal tracks are quite pleasant. Even I hesitated to call this album good, but I have to tell my true opinion. And what can I say? I'm an open-minded person....

Favorites: "Just Like This", "Break Stuff", "Rearranged", "Nobody Like You", "9 Teen 90 Nine", "N2gether Now", "A Lesson Learned"

I haven't listened to In This Moment in years and if the bands recent outing, Godmode is any indicator, it does not seem like I have missed much in the years since The Dream. The band have migrated out of the melodic metalcore sphere and fully embraced their mainstream rock/metal stripes. Maria Brink is far more expressive on this album than on the last album Mother, however, despite this more drastic change in timbre toward industrial, Maria is not able to fully embrace that wilder side of her delivery because the songs themselves are pretty lazily put together.

Speaking of lazy, this production is horrible! The albums main promo single "The Purge" feels like it should explode into a massive chorus or breakdown, but instead, Maria's timbre flip-flops from hushed whispers to harsh screaming, only for the flaccid electronic percussion and weak synths to return as if this huge buildup didn't just happen. The guitars sound really tinny and compressed, while any bass presence is thoroughly gutted throughout the album. The kicker for me was the Spencer Charnas feature on "Damaged" where the two vocalist build up to this huge climax and where you would expect a release, the guitar re-entry is muted and any sense of payoff is thwarted within seconds.

Which is kind of a shame because the record does have some okay melodic ideas. They aren't as flushed out as The Dream was, but "Army of Me", "Everything Starts and Ends With You" and "I Would Die For You" can be deceptively tuneful. On the other hand, the constant vocal swapping during the verses on "The Purge" sound really stupid and neuter the actual buildup/breakdown of that songs chorus even more so than the production on its own.

I don't think that the industrial and electronic elements sound bad, but their incorporation feels muted because In This Moment has laid a very weak foundation for this newer sound. Something tells me that if Godmode was remastered with less compression, it would be a lot better. This bands attempts at going mainstream is a bit of a Beautiful Tragedy because it relinquishes the bands personality and leaves them as a empty shell. All they have left is Maria's vocals and this production is not emphasizing her strengths.

Best Songs: Army of Me, Everything Starts and Ends With You

In This Moment know how to reinvent the modern metal wheel. Each album is different in sound so their fanbase doesn't get tired of them easily. This alt-metal group, founded by Chris Howorth and Maria Brink, have gone further down the Marilyn Manson/Nine Inch Nails-infused industrial metal rabbit hole with their new album Godmode!

After some slight hints in their 6th album Ritual, their next one Mother began to push the band's industrial side up front, creating strong anthems like their girl-power anthem of a Queen cover plus a few weak links. Although Godmode can have earlier fans cringe in dread, here the band refresh their sound into something simpler and more lively. The songs sound bolder and more organic, and Brink sounds like a true modern metal goddess.

The opening title track already hints at that return to their heavier feel. "The Purge" is another powerful highlight! I can hear quite a similar vibe to the more electronic material of Bring Me the Horizon and Motionless in White. The lyrics are quite eerie and fit well with the demonic-ish music. Maria Brink is quite impressive at making a cover of "Army of Me", a Bjork classic, though I prefer the covers from their previous two albums. Continuing to test out different styles, we have the djent-dance track "Sacrifice" that shows more clarity in the album than their previous few ones.

Brink's singing in "Skyburner" sounds a bit drunken, but there are good driving riffs. However, she can really scream in the verses of "Sanctify Me". Then "Everything Starts and Ends with You" continues to show the band adopting more electronic influences than before. It certainly can work for a video game of heavenly universal connection.

As usual, the album has a duet in "Damaged", with Ice Nine Kills vocalist Spencer Charnas. However, the interplay comes out a bit weird. It just isn't as balanced as that duet with the Ded vocalist in the previous album Mother. "Fate Bringer" has more of the earlier dance beat which, despite being unsettling, flows well. "I Would Die for You" is an epic ballad originally in the soundtrack for John Wick: Chapter 4. It reaches a hysterical climax that has really paid off.

All in all, In This Moment have truly revived what made them spectacular. With solid songs, all having Brink's godly and ungodly singing, Godmode has truly proven what the band has in store as the modern metal legends they are today!

Favorites: "Godmode", "The Purge", "Sanctify Me", "Everything Starts and Ends with You", "I Would Die for You"

Spiritbox wax never going to be iwrestledabearonce. Hell, even IWABO wasn't IWABO by the time Courtney LaPlante and Mike Stringer joined the group for 2015's Hail Mary. So in a way, watching Spiritbox go from progressive metal from the debut EP with songs like "The Mara Effect" and transform into this more pop centric sound isn't surprising.

When I listened to Eternal Blue, I did enjoy the direction the band was taking, but also felt far too much like a grab bag of modern metalcore trends rather than sounding like Spiritbox. And on this new album, I can confidently say that nothing has changed.

This little EP comes packaged with three decent made for radio alternative metalcore songs with "The Void", "Ultraviolet" and "Too Close / Too Late", two heavy bangers that will please the breakdown reaction video makers with "Cellar Door" and "Angel Eyes". And then there is "Jaded", which is the kind of hybrid that "Circle With Me" wishes it could be; a very solid track and likely the best on the EP.

As individual songs, I do think that The Fear of Fear is pretty good. Every song feels like a completed idea and Spiritbox know their sound and creative limits so as to not detract from the EP's strengths. As a whole however, Spiritbox are still stuck in creative limbo trying to appeal to as wide a audience as possible with as many differing timbres and styles that honestly don't fit as well together as I would have liked.

This can be extremely dangerous for a band since it can spread their audience quite thin. I think that on an EP like The Fear of Fear is one of the best places to play around with this because of the length, as opposed to a full length LP. But, since Spiritbox are doing this again following the debut full length, maybe this is the residual mist being left behind from the IWABO days that Spiritbox wants to maintain. And I'm not sure it's going to work the best for them in the future.

Best Songs: Jaded, Cellar Door, Ultraviolet

Roadrunner Records is one of the most famous and diverse metal/hard rock record labels of all time. Famous and infamous bands signed to the label like Slipknot, Trivium, Fear Factory, and Machine Head have made the label as big as it is. And the then-core members of each of those 4 bands were chosen for ambitious project conceived by ex-vice president of the label Monte Conner...

Mr. Conner wanted to do a special thing for Roadrunner's 25th anniversary. He wanted 4 members of different bands band together to make an album dedicated to the label. But then he decided to upgrade his idea into something more ambitious... The 4 chosen ones, ex-Slipknot drummer Joey Jordison (RIP), Trivium frontman Matt Heafy, Fear Factory guitarist Dino Cazares, and Machine Head frontman Robb Flynn were tasked in each recording 4 songs (though one captain would have a bonus 5th) and choose any member of a Roadrunner-signed band past or present to record with them. The end result is a massive 18-song 77-minute album featuring 57 artists from 45 bands!

The modern thrash/groove/metalcore anthem "The Dagger" opens the album as the first one of Flynn's songs, and it already has a Machine Head gone Killswitch Engage vibe, which makes sense since it features ex-Killswitch Engage vocalist Howard Jones. A godly guitar solo played Canadian thrash master Jeff Waters of Annihilator absolutely tears down the house. An amazing kick-A starter track! The guitar skills of second captain Cazares the guitar/drum chaos of "The Enemy" after an acoustic intro by Sepultura's Andreas Kisser. With Cazares' riffing that is able to bring back that of Demanufacture without any of the industrial aspects, and the sharp vocals of Mark Hunter (Chimaira), you're in for another deathly thrash-metalcore treat. "Annihilation by the Hands of God" is full on death metal that showcases Jordison's stampeding drum blasts and murderous riffing. The song is OK, but a little too deathly for me, and Deicide vocalist Glen Benton's growls aren't that great. The diverse writing of Matt Heafy, back then a 19-year-old aspiring metal star, begins with the song "In the Fire". The sinister and operatic singing of the legendary King Diamond is some of the best vocals I've heard in the album. And we have an awesome guitar solo duel between Matt and Trivium bandmate Corey Beaulieu. An absolutely killer 80s heavy/speed metal standout!

"The End" features Heafy's clean singing in a wonderful hard rock/alt-metal power ballad. An incredible experiment by Cazares and Heafy that has paid off! And I'm glad that one received a single and video, the only one from the entire album to have those. "Tired 'n Lonely" is a much different song written by Jordison, like is this modern bluesy hard rock?!? Likely so, as if it's something Slash and Wednesday 13 would write! Life of Agony's Keith Caputo (now known as Mina Caputo after gender transition) has well-fitting vocals there. Still a highlight, but not beating most of the first 5 tracks. "Independent (Voice of the Voiceless)" has the fast aggression of the thrash/groove metal that can be heard in Sepultura, Soulfly, and a less industrial Nailbomb. And it's no coincidence that Flynn chose the vocalist of those 3 bands, Max Cavalera for that song. It's great hearing this Cavalera-borrowed bridge riff, though the rest of the song is a bit strange. Though not as much as the next one written by Heafy, "Dawn of a Golden Age", pure blasting black metal with the haunting shrieks of Cradle of Filth leader Dani Filth. This is only for those brave enough to explore the Satanic depths of black metal.

The next Flynn-written song is "The Rich Man", with Slipknot vocalist Corey Taylor singing as sinister atmosphere builds up along the way. There's decent bass in the soft verses, and then the chorus has usual heavy riffing of metal. A solid nu/alt-metal song made interesting with the clean verses and rough chorus. "No Way Out" is more of a simple alt-pop rock song. However, unlike Jordison's other rock song, there's way more melody than actual heaviness, and the vocals by Daryl Palumbo of Glassjaw come out so bad. I'm sorry, but NO. Then "Baptized in the Redemption" has more of Cazares' heaviness, and Dez Fafara of Coal Chamber and Devildriver. You can consider this a Latin-inspired groove/nu metal song, especially in the f***ing headbanging riffing at the start, and another guest appearance by Andreas Kisser in a pulverizing solo. One song that doesn't get mentioned much is "Roads", and that's because it wasn't written by any of the 4 team captains, along with being a much different-sounding song from the rest. Beautiful keyboards are performed by Type O Negative keyboardist Josh Silver and the vocals and acoustic guitar are performed by Opeth frontman Mikael Åkerfeldt. That's all the song has, but it's still pretty nice, with a catchy chorus melody. Another incredible song written by Heafy is "Blood and Flames", a sludgy groove metalcore song with powerful vocals by Killswitch Engage current vocalist Jesse Leach. A definite highlight here!

"Constitution Down" has heavier extreme drumming by Jordison. I enjoy it a bit, but that groove/thrash track sung by Kyle Thomas of Exhorder sounds a bit unnecessary in their attempt to tribute to Pantera. Heafy's last song here is "I Don't Wanna Be (A Superhero)", and... What?! I never thought he would write a two-minute Pennywise-esque hardcore punk song featuring ex-Misfits vocalist Michale Graves, let alone make one that's a true anthem to please my ears! Nicely done, Matt! The last one of Flynn's songs "Army of the Sun" is the most different one in that category. That one's more of a melodic heavy/alt-metal power ballad in a similar vein to "The End". The chorus and bridge is so beautiful, sung by Tim Williams from Bloodsimple and Visions of Disorder. Cazares makes one more move in "No Mas Control", which has the most Fear Factory-like vibe in the riffing for a groove/nu metalcore attack, as Ill Nino vocalist Christian Machado rages through. Not bad, though could've been better. Joey got to write a bonus 5th song to end this offering, and that final song "Enemy of the State" starts with the beautiful piano of Josh Silver. Adding more to the calm gothic doom depressiveness of Type O Negative is the deep singing of the late Peter Steele (RIP). The song is OK, but it ends it all in more of a whimper than a bang.

All in all, this impressive Roadrunner United is one of the most ambitious offerings in metal history. Although it is considered alt-metal, you can't deny the metalcore, thrash, groove, and to a lesser extent, death/black metal appearing here. Heafy and Cazares write the best songs here, and how can I say otherwise? They're from two of my favorite bands! No disrespect to Jordison, but he really could've written his songs better. Flynn is somewhere in between. Any musicians from at least one metal band you love and enjoy? They're all in this astonishing offering. Here's to another impressive project like this in the future, hopefully in Roadrunner's 50th year, 2030....

Favorites: "The Dagger", "The Enemy", "In the Fire", "The End", "Tired 'n Lonely", "Baptized in the Redemption", "Blood and Flames", "I Don't Wanna Be (A Superhero)", "Army of the Sun"

Tool is a tough band to decide if I want to keep listening to or not. Their progressive side is really out there, but they also have more of the mainstream side of alt-metal. Alter Bridge made a more pleasing perfect balance for me. However, vocalist Maynard James Keenan, guitarist Adam Jones, bassist Justin Chancellor and drummer Danny Carey push their sound out of mainstream despite sounding like they're in it, with their long journeys of songs. But then we have the fanbase who expects them to stay in the underground and not go so progressive. Despite those earlier fans staring daggers at them, they know how to please other fans who accept the band as they are...

Tool's innovation and humor scored them high points with fans and critics, but the praise started to fade away. All the different and unconventional time signatures and song structures that were used in their first 3 albums ended up being deemed low quality. This might be due to lack of new ideas the band had at the time, and yet there are fans hoping for a sequel to Lateralus. Now let me just say that the band's success is still on top, and in this album 10,000 Days, nothing is highly different, nor is it highly the same.

The aggressive opener "Vicarious" picks up where Lateralus left off with Chancellor's crashing bass. This menacing 7-minute track has the exciting guitars and drums played alongside Keenan's plain lyrics which seems relate to any TV viewer who enjoys something so fun yet time-wasting, "You all feel the same, so why can’t we just admit it?" Letting loose with the groove is the second track "Jambi", especially the riffing surrounding the guitar solo. Next track "Wings For Marie" is the prelude to one of two epics. Atmosphere goes on for a little long, but it's saved by the clean guitar buildup. The title epic is dedicated to Keenan's mother who, when her son was 11, suffered a brain aneurysm that left her paralyzed until her passing 27 years later. 10,000 Days is a reference to that amount of time along with the orbital period of Saturn. The lyrics have great sentiment, though they're a bit jarring, "Should you see your maker's face tonight, look him in the eye and tell him? I never took a life, but surely saved one."

"The Pot" shows the bass rhythm being less snappy, instead synchronizing with the beat in a groove-powered breakdown perfect for some live moshing. Maybe that Plankton AI cover would level up the mosh pit even more. Yeah, that version of the song is what my brother was listening to that made me interested in checking out this album. "Lipan Conjuring" is a one-minute interlude that breaks the album flow with its ritual chanting. In "Lost Keys (Blame Hofmann)", you can hear a nurse and a doctor talking to each other talking as guitar echoes through. It leads to "Rosetta Stoned", in which we enter the mind of the coma victim the doctors are keeping an eye on. Keenan can pull off different vocal styles very well from unclear alien garbles to clear desperate cries. The guitar is also performed well, from rumbling echoes to an intense frenzy.

Electronics enter in "Intension" which is fine despite its lack of heavy progress. The supreme "Right in Two" finishes off the progressive greatness in a breakneck climax. But the moaning outro "Viginti Tres" I find a bit unnecessary.

I can talk about an album's highlights as much as its more critical moments, like when previous album Lateralus attracted newer fans and repelled earlier fans. Although 5 years is a long gap, it's quite short when you think about their next album Fear Inoculum. But at least the more progressive fans had an album to savor in 10,000 Days....

Favorites: "Vicarious", "10,000 Days", "The Pot", "Rosetta Stoned", "Right in Two"

Slipknot bassist Paul Gray passed away in 2010. Drummer Joey Jordison was fired from the band 2013, and he also left the world in 2021. RIP... Taking the place of those two fallen members are two new guys who also mask up, Jay Weinberg (drums) and Alessandro "Vman" Venturella (bass).

Although I enjoy a bit nu/alt-metal, I'm never really in the Slipknot fan camp. This collective-like band that also consisted of vocalist Corey Taylor, percussionists Shawn "Clown" Crahan and Chris Fehn, guitarists Jim Root and Mick Thomson, and keyboardists Sid Wilson and Craig "133" Jones can still unleash great rage from their time of grief in .5: The Gray Chapter! It is a dark punishing experience balanced out with clean vocal melodies. They sure know how to put the old and the new in killer contrast.

Synth organ and xylophone add solemnness to the intro "XIX". Corey Taylor yells in his clean voice about being "too busy being called to disappear, I'm in no shape to be alone contrary to the s*** you might hear". That adds a bit of a vibe from his other band Stone Sour. The raging "Sarcastrophe" starts off with slow guitar and percussion before breaking down the walls with heaviness and speed. Killer riffing, growled vocals, and rapid-fire drumming add faster delivery. No disrespect to Joey Jordison, but it marks quite a step from his earlier precision that works well for that thrashy madhouse. "AOV" has much faster thrash, probably the most out of this band, especially in the neck-breaking intro. The growled verses work well together with the clean choruses. Slipknot is already showing their progressive evolution, as they slow down in the bridge and even add sing-along melody towards the end before the last of the brutal riff rhythm. A different addition to the band's journey! "The Devil in I" begins with a sludgy groove intro then quiets down for the verses of morose clean guitar and bass with Taylor's vocal sorrow. The chorus is heavier but modest. There's a massive breakdown leading into a quick bridge as fast as grindcore. Right from there is "Killpop" which Taylor's Stone Sour tendencies blended with the industrial of Nine Inch Nails. The chorus soars with crazed percussion, and the chaos rises until it makes an abrupt stop. Note that the song is the shortest full song at 3:45, but it could've been a bit longer so it wouldn't end abruptly like that.

A tribute to Paul Gray, "Skeptic" has satisfying thrash-groove riffing with a bit of Faith No More-esque experimentation. "Lech" starts with Taylor shouting "I know why Judas wept, motherf***ers!", another total ripper. There are scorching drum patterns ranging from slow brutality in the breakdowns to jackhammering thrash in the faster sections. The more draggy electronic-tinged "Goodbye" has Taylor's cleans in soft echo. Then the heavy rhythm grows into a terrific solo that makes things better, sounding like there might be a return to the thrash, but that doesn't happen in the song when the climax ends prematurely. "Nomadic", however, segues into the band's earlier charging blitz, also having some harmonic choruses. The thrashy solo blows you away like a hurricane. "The One That Kills the Least" is a killer track that leads into the one that kills the most...

The reckless "Custer" has a bit of spoken word before his scathing ranting over crushing speed as he chants, "CUT CUT CUT ME UP AND F*** F*** F*** ME UP!" When my brother was listening to the song this year when the song became a TikTok staple, that was my indirect invitation to listen to the album that included that thrashy highlight. Then there's the spooky interlude "Be Prepared for Hell". It then leads "The Negative One" filled with thrash-grind mayhem. Compelling finale "If Rain Is What You Want" is once again dedicated to Paul Gray, signifying the end of an era and a new beginning. There are a couple hidden tracks, but we'll skip them.

The Gray Chapter works appropriately as a tribute to Gray after Slipknot had all the time to mourn and grieve their fallen member. Anyone who's more likely to be a Slipknot fan than I will ever be can definitely get onboard. Just choose what you like and ignore the haters....

Favorites: "Sarcastrophe", "AOV", "Skeptic", "Lech", "Nomadic", "Custer", "The Negative One"

Hearing an awesome popular single from this band in a show I've been binge-watching made me up to checking more of this band Godsmack via their 3rd album Faceless. And that wasn't the only time that song was used for a show or movie; you might know the song as part of The Scorpion King soundtrack. So what is that battle-ready nu/alt-metal song? As usual, I'll save what it is for when get to that song in the review...

It's part of this Boston-based band's blazing return in popularity that is Faceless. The vocals sound rough yet harmonic over guitar heaviness. I'm sure anyone listening to some of these tracks on the radio 20 years before this review was having great headbanging joy.

"Straight Out of Line" crashes in with tribal percussion in this live staple for the band. Both the guitar and vocals by Sully Erna cry out in heavy anger. The title track continues that in more of a radio-friendly form. "Changes" has more rock, though those killer guitars and vocals continue to soar. "Make Me Believe" once again has heavy guitar destruction by Tony Rombola and bass devastation by Robbie Merrill.

"I Stand Alone" is a different standout in this collection, and the aforementioned single featured in The Scorpion King and the show I've been binge-watching. An absolutely killer song for battle! The nice follow-up "Re-Align" continues the band's earlier heaviness used in this album since the previous track. Next one "I F***ing Hate You" is filled with rage and heaviness worth ranting against your estranged ex. "Releasing the Demons" fits right in the name for Sully unleashing the personal demons from his soul and mind. Lots of great potential in that one!

Following this is "Dead and Broken" which has TOOL-esque guitars in nice contrast with Sully's lyrics of women and their mind games. You can think of that as Nickelback's "How You Remind Me" but heavier. "I Am" has the band's classic intense/melodic blend. "The Awakening" is an interlude with tribal percussion and chanting. "Serenity" is a slow cool way to end, inspired by the late Rush drummer Neil Peart's book chronicling his motorcycle trek through North America after losing his wife and daughter.

Faceless can be considered part of the popular alt-metal release lineup of 2003, alongside albums by Evanescence, Linkin Park, and unfortunately Metallica. Godsmack's killer entry into that lineup shows that the album can stand both alone and altogether....

Favorites: "Straight Out of Line", "Changes", "I Stand Alone", "Re-Align", "Releasing the Demons", "I Am"

With The Surface being my first exploration of Beartooth's music, I can't say that I was very excited about he thought. I had heard the name Beartooth thrown around in popular hardcore/metalcore circles, but they never really interested me all that much, likely due to the fact that I was head, neck and probably arms deep in a progressive wormhole at the time, and the thought of some very barebones, mosh-y hardcore music was not near the top of mind.

Well it's 2023 and Beartooth are still relatively popular. So much so that the band has cleaned up their sound and gone full radio friendly with their hardcore sound. The mixing of this record contains almost no reverb effects, which does come with its own drawbacks. Primarily, the whiplash dynamic change during the pre-chorus of "What's Killing You". On the positive, the promotional singles "Sunshine!" and "Riptide" are mostly solid and I did enjoy the title track as well.

Unfortunately this album is remarkably stale. Despite the more accessible nature of it, The Surface still feels like a very barebones and sanitized record. This is one of the more egregious examples of a metalcore band not willing to develop their sound beyond what made them popular many years ago. I cannot even say that it feels transitory because the slower, emotional tracks near this albums end are familiar to metalcore fans, as both Sleep Token and Bad Omens have tried this before to more positive results. The album claims to be more optimistic, but there is still a considerable amount of vocal whining and complaining, which at this point in metalcore, has not just become boring, but annoying.

The Surface exists. If you like Beartooth, then there is no reason why you would not enjoy this assortment of meat and potatoes metalcore. But even the metalcore circles I frequent hold this album out at a distance for its more pop tendencies. We're just hoping this band will dig a little deeper.

Best Songs: Sunshine!, What Are You Waiting For

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I'm quite the Alice in Chains fan.  Way back when I was first getting into regular album exploration, one of my first ever binges was grunge, and that binge would be on and off for years before I felt I had exhausted all the albums worth listening to.  Of course, I kind of avoided solo Cantrell because I didn't want to explore a solo act just for a relation to Alice in Chains.  But the way I see it, a grunge junkie who actually started a wiki on it has an obligation, even if he's not working on the wiki anymore.

I heard the decent but unimpressive debut, Boggy Depot, before heading to this, and it's easy to see that Cantrell belongs in the metal world.  Right from the start, Cantrell makes a point of telling you that this is an Alice in Chains solo act by recounting that same dark and sludgy sound on the first track.  But the album doesn't stay that way; it goes from harder to softer on a beautiful balance, sometimes progressively.  Songs like Angel Eyes which bridge that poppy lightweight alternative with the noisiness of grunge riffs mingle well with softer and more acoustic bits with a slight emphasis on psychedelic country.  It made me realize that I wished there was a slight more alt-rock and psychedelic in Dirt, then it might've risen on my overall log.

However, there are a couple problems with this album.  First of all, the writing certainly isn't as unique or inspired as Alice in Chains.  It seems more predictable this time, despite all its efforts to both remind one of Alice in Chains and separate itself from the band.  The second problem is that the emotional aspect is not recounted much.  It's occasionally there, but it's lightweight.  This especially hurts if you know that Cantrell was with Alice in Chains, which means this overlong album is poppier.  So the variety eventually gets samey.

Well, I can't say this is my favorite grunge metal album.  I was hoping to love it for its connection to Alice in Chains, but I knew it was a bit much to ask for.  It's a pretty fun album with some cool songs, but totally passable.

One of my best mates at high school picked up the debut album from New York's Scatterbrain very shortly after it was released off the back of the super-popular novelty single "Don't Call Me Dude" which resulted in me receiving a dubbed copy. Even though there's a clear tongue-in-cheek attitude behind the album, I quite enjoyed it too & a lot of that has to do with the high-quality musicianship & the general thrashiness of the material. Despite "Here Comes Trouble" generally being tagged as a funk metal record, that's a misleading guide as to what you'll ultimately hear with only a couple of tracks sitting in genuine funk metal territory. The remainder is very much a hybrid of alternative metal & some really well executed thrash metal that clearly showcases the band members roots in crossover band Ludichrist. I'd describe the album as a combination of the funk/alternative metal of Faith No More, the classy thrash metal of Megadeth & the snot-faced crossover thrash fun of Suicidal Tendencies.

The opening titled track is a 90's thrash classic in my opinion while songs like "I'm With Stupid", "Down With The Ship (Slight Return)", "Mr. Johnson and The Juice Crew" & the much-talked-about "Don't Call Me Dude" are all really solid too. There are a couple of stupid inclusions like neoclassical metal instrumental "Sonata #3" & comedy/novelty rock closer "Drunken Milkman" that bring things back a bit & the funkier tracks aren't as appealing to me personally but this is still a surprisingly decent metal record & I seem to remember every second of it too.

Coming off the back of revisiting the 1988 debut album "Vivid" from this New York outfit recently, I thought I might give the same privilege to Living Colour's sophomore album too. I picked up a dubbed cassette copy from someone at school at the time of release & remember quite liking it, mainly due to Vernon Reid's fusion-inspired lead guitar work which seriously shreds. It's certainly a more serious record than "Vivid" was. It's also a much more metal one too. I've always struggled to see why people like to label "Vivid" as a metal release to be honest. To my ears it was more of a hard/funk rock album but "Time's Up" is one of the rare records that I actually feel is worthy of the funk metal tag as I find most of the others to receive that tag either don't include the funk element consistently enough or aren't really metal. The musicianship is astoundingly good from all parties but, while there's undoubtedly some strong material here, I don't think there are any genuine classics included. The calypso single "Solace of You" doesn't do anything for me & neither do any of the short interludes, all of which could have been comfortably omitted. Overall, I'd suggest that it's a better record than "Vivid" & I still quite like it but I wouldn't say that it's essential.